At age 11, Madden joined PACE Youth Theatre to help overcome his shyness.	11 歲時，麥登加入了 PACE 青年劇場以協助克服膽怯。
He was soon cast as young Andy in the film adaptation of Iain Banks's Complicity; he was then cast in the lead role of Sebastian in the children's television series Barmy Aunt Boomerang, for which he filmed six episodes that aired from 1999 until 2000.	他很快被選派在伊恩·班克斯之《共謀》的改編電影中扮演年輕的安迪；之後被選派在兒童電視影集《巴尼阿姨布瑪瑞》中扮演主角賽巴斯欽，他在其中拍攝了六集，從 1999 年播映至 2000 年。
He attended the Royal Scottish Academy of Music and Drama (RSAMD) in Glasgow, from where he graduated in 2007. While at RSAMD, he worked with The Arches and Glasgow Repertory Company, followed by Franz Xaver Kroetz's play Tom Fool at the Citizens' Theatre, which was so well received that it transferred to London, where Madden was spotted by a team from Shakespeare's Globe.	他曾就讀格拉斯哥的蘇格蘭皇家音樂和戲劇學院 (RSAMD)，並在 2007 年畢業。在 RSAMD 時，他曾與 The Arches 及 Glasgow Repertory Company 合作，之後參加弗朗茲·薩韋爾·克羅茲在公民劇院的戲劇《湯姆傻子》，該戲劇因大獲好評而移往倫敦，環球劇場團隊就在那裡注意到麥登。
In his final year with RSAMD, he was cast as Romeo in a production of Romeo and Juliet at the modern Globe Theatre which, after an initial run in London, made a tour of open-air stages during the summer of 2007, this being the Globe's first tour.	他在 RSAMD 的最後一年時，獲選在環球劇場的《羅密歐與茱麗葉》一作中演出羅密歐的角色；該劇在倫敦首演之後於 2007 年夏天進行了露天舞台巡演，是環球劇場的第一場巡演。
He played Callum McGregor in the stage production of Malorie Blackman's Noughts & Crosses in 2008.	他在 2008 年瑪洛麗·布萊克曼的《畫圈與打叉》舞台劇作中飾演卡勒姆·麥克格雷格。
He later gained the lead role of Dean McKenzie in the 2009 BBC comedy-drama series Hope Springs, followed by his roles as Ripley in the 2010 film Chatroom, and as Theatre of Hate singer Kirk Brandon in the 2010 film Worried About The Boy.	他之後獲得 2009 年 BBC 喜劇影集《希望之泉》主角迪恩·麥肯錫的角色，接著在 2010 年電影《聊天弒》中飾演雷普利，並在 2010 年電影《喬治男孩》中飾演《仇恨劇院》歌手柯克·布蘭登。
From 2011 to 2013, he starred as Robb Stark in the HBO series Game of Thrones, based upon the series of novels, A Song of Ice and Fire, by George R. R. Martin.	2011 年到 2013 年，他在改編自喬治·R·R·馬丁《冰與火之歌》系列小說的 HBO 影集《權力遊戲》中飾演羅柏·史塔克。
Speaking in September 2018, Madden claimed that he was not paid much for his role in Game of Thrones.	麥登在 2018 年 9 月的發言中聲稱，他在《權力遊戲》中的角色並未獲得大筆薪酬。
During this period, Madden also starred in the Channel 4 comedy-drama series Sirens,and in the BBC drama series Birdsong.	在此期間，麥登也在第 4 頻道的喜劇影集《詭魅海妖》和 BBC 戲劇影集《鳥歌》中演出。
In May 2013, Madden was chosen to portray the prince in the live action Disney film Cinderella.	2013 年 5 月，麥登獲選在真人版迪士尼電影《仙履奇緣》中飾演王子。
The film was released in March 2015.	該電影在 2015 年 3 月上映。
Madden first obtained his Screen Actors Guild (SAG) card for the 2014 miniseries Klondike, in which he plays Bill Haskell.	麥登因為 2014 年迷你影集《克朗代克》首次獲得美國演員工會 (SAG) 卡；他在該影集中飾演比爾·哈斯克爾。
Between 12 May and 13 August 2016, Madden appeared on stage in London's West End playing the part of Romeo in Romeo and Juliet, where he was reunited with his Cinderella costar Lily James, who played Juliet, and director Kenneth Branagh.	2016 年 5 月 12 日到 8 月 13 日之間，麥登於倫敦西區劇院的舞台演出，在《羅密歐與茱麗葉》中飾演羅密歐的角色；他在該劇與飾演《茱麗葉》且曾與他聯合主演《仙履奇緣》的莉莉·詹姆斯及導演肯尼斯·布萊納重逢。
Richard was replaced as Romeo in July 2016, after suffering an ankle injury.	理查歷經腳踝受傷之後，其羅密歐的角色在 2016 年遭到替換。
In 2016, he played the leading role of Cosimo de' Medici, the son of the founder of the Medici Bank during the Italian Renaissance, in the Italian-British television drama series, Medici: Masters of Florence.	2016 年，他在義大利-英國電視戲劇影集《麥地奇家族：佛羅倫斯大師》中扮演主角科西莫·德·麥地奇，也就是義大利文藝復興期間麥地奇銀行的創辦人之子。
In the same year he played American pickpocket Michael Mason in the 2016 action movie Bastille Day, starring alongside Idris Elba.	同年，他在 2016 年動作片《巴士底日》飾演美籍扒手麥克·梅森，與伊卓瑞斯·艾巴連袂演出。
In 2018, Madden garnered widespread critical acclaim and wider recognition for his role as Sergeant David Budd in the BBC thriller series Bodyguard.	2018 年，麥登因為在 BBC 驚悚影集《內政保鑣》的大衛·布德中士一角，獲得廣大的高度評價且更廣為人知。
After achieving high levels of popularity in the UK, the show was released to a worldwide audience on Netflix in October 2018.	在英國獲得高人氣後，該節目在 2018 年 10 月於 Netflix 對全世界的觀眾上映。
His performance earned him a Golden Globe Award for Best Actor – Television Series Drama.	他的演出使他贏得金球獎劇情類劇集最佳男主角。
Bodyguard went on to be nominated for the Primetime Emmy Award for Outstanding Drama Series.	《內政保鑣》之後又獲得黃金時段艾美獎最佳影集提名。
Jolie first witnessed the effects of a humanitarian crisis while filming Lara Croft: Tomb Raider (2001) in war-torn Cambodia, an experience she later credited with having brought her a greater understanding of the world.	裘莉在飽受戰爭摧殘的柬埔寨拍攝《古墓奇兵》(2001) 時首次目睹人道危機的影響；她之後認為這個經歷幫助她對世界有更深入的瞭解。
Upon her return home, Jolie contacted the United Nations High Commissioner for Refugees (UNHCR) for information on international trouble spots.	裘莉返家後聯絡了聯合國難民事務高級專員 (UNHCR) 以尋求有關國際不安定地區的資訊。
To learn more about the conditions in these areas, she began visiting refugee camps around the world.	為了深入瞭解這些地區的情況，她開始探訪世界各地的難民營。
In February 2001, she went on her first field visit, an 18-day mission to Sierra Leone and Tanzania; she later expressed her shock at what she had witnessed.	2001 年 2 月，她展開了第一次實地探訪，是前往獅子山和坦尚尼亞的 18 天訪問；她之後表示對所目睹的情況感到震驚。
In the following months, Jolie returned to Cambodia for two weeks and met with Afghan refugees in Pakistan, where she donated $1 million in response to an international UNHCR emergency appeal, the largest donation UNHCR had ever received from a private individual.	之後的幾個月，裘莉返回柬埔寨兩週，並在巴基斯坦與阿富汗難民會面，她在那裡捐出了 100 萬美元以響應國際 UNHCR 緊急呼籲，這是 UNHCR 歷來從私人收到的最大筆捐款。
She covered all costs related to her missions and shared the same rudimentary working and living conditions as UNHCR field staff on all of her visits.	她在所有的探訪期間負擔了與她訪問相關的所有費用，而且與 UNHCR 當地人員共享相同的基礎工作和生活條件。
Jolie was named a UNHCR Goodwill Ambassador at UNHCR headquarters in Geneva on August 27, 2001.	裘莉在 2001 年 8 月 27 日於日內瓦的 UNHCR 總部獲任命為 UNHCR 親善大使。
Over the next decade, she went on more than 40 field missions, meeting with refugees and internally displaced persons in over 30 countries.	在接下來的十年間，她持續進行超過 40 場實地考察，在超過 30 個國家與難民和國內流離失所者見面。
In 2002, when asked what she hoped to accomplish, she stated, "Awareness of the plight of these people.	2002 年，被問及她希望實現什麼時，她表示「讓人們意識到這些人的困境。
I think they should be commended for what they have survived, not looked down upon." To that end, her 2001–02 field visits were chronicled in her book Notes from My Travels, which was published in October 2003 in conjunction with the release of her humanitarian drama Beyond Borders.	我認為他們應該因為從苦難中存活下來而獲得讚揚，而不是遭到鄙視。」為此，她在 2001-02 年的實地考察都編入她的《我的旅行筆記》中；該書在 2003 年 10 月與她的人道劇情片《戰火情人》聯合發行。
Jolie aimed to visit what she termed "forgotten emergencies," crises that media attention had shifted away from.	裘莉致力於探訪媒體已不再關注且被她稱為「被遺忘的緊急事件」危機。
She became noted for traveling to war zones, such as Sudan's Darfur region during the Darfur conflict, the Syrian-Iraqi border during the Second Gulf War, where she met privately with U.S. troops and other multi-national forces, and the Afghan capital Kabul during the war in Afghanistan, where three aid workers were murdered in the midst of her first visit.	她因為前往戰區而變得出名，例如蘇丹在達佛衝突期間的達佛地區、伊拉克戰爭期間的敘利亞-伊拉克邊界 (她在那裡私下與美軍及其他多國軍隊碰面)，以及在阿富汗戰爭期間的阿富汗首都喀布爾 (在那裡，有三位救援工作者在她第一次探訪當中遭到殺害)。
To aid her travels, she began taking flying lessons in 2004 with the aim of ferrying aid workers and food supplies around the world; she now holds a private pilot license with instrument rating and owns a Cirrus SR22 and Cessna 208 Caravan single-engine aircraft.	為了替她的旅行提供助力，她在 2004 年開始參加飛行課程，目的是在世界各地運送救援工作者和食物補給；她現在持有具備儀器飛行證的私人飛行執照，且擁有一部 Cirrus SR22 和 Cessna 208 Caravan 單引擎飛機。
On April 17, 2012, after more than a decade of service as a UNHCR Goodwill Ambassador, Jolie was promoted to the rank of Special Envoy to High Commissioner António Guterres, the first to take on such a position within the organization.	在擔任 UNHCR 親善大使超過十年之後，裘莉在 2012 年 4 月 17 日獲升任為高級專員安東尼歐·古特瑞斯的特使，是第一個在該組織內獲得此類職位的人。
In her expanded role, she was given authority to represent Guterres and UNHCR at the diplomatic level, with a focus on major refugee crises.	她的角色提升後，便獲授權在外交層級代表古特瑞斯和 UNHCR，聚焦於重大難民危機。
In the months following her promotion, she made her first visit as Special Envoy—her third over all—to Ecuador, where she met with Colombian refugees, and she accompanied Guterres on a week-long tour of Jordan, Lebanon, Turkey, and Iraq, to assess the situation of refugees from neighboring Syria.	她在升任後的幾個月後第一次 (是整體的第三次) 以特使身分訪視厄瓜多，她在那裡與哥倫比亞難民見面，並陪同古特瑞斯進行為期一週的約旦、黎巴嫩、土耳其和伊拉克之旅，以評估來自鄰國敘利亞的難民情形。
Since then, Jolie has gone on over a dozen field missions around the world to meet with refugees and undertake advocacy on their behalf.	從那時開始，裘莉在世界各地進行了十多次實地考察，與難民見面並代表他們提出倡議。
In an effort to connect her Cambodian-born adopted son with his heritage, Jolie purchased a house in his country of birth in 2003.	為了努力使她柬埔寨裔的領養兒子與他的傳統建立連結，裘莉在 2003 年於他出生的故鄉買了一間房子。
The traditional home sat on 39 hectares in the northwestern province Battambang, adjacent to Samlout national park in the Cardamom mountains, which had become infiltrated with poachers who threatened endangered species.	這間位於馬德望省西北邊的傳統住家占地 39 公頃，鄰接荳蔻山脈中的薩姆洛特國家公園；該公園曾遭到威脅瀕危物種的盜獵者潛入。
She purchased the park's 60,000 hectares and turned the area into a wildlife reserve named for her son, the Maddox Jolie Project.	她買下了這座公園的 60,000 公頃，並將該區域轉變成以她兒子為名的野生保護區，麥道斯·裘莉專案。
Released as a single in July 1969, "Space Oddity" was a largely acoustic number augmented by the eerie tones of the composer's Stylophone, a pocket electronic organ.	1969 年 7 月以單曲發行的《太空怪談》是大量以作曲者的筆型合成器 (一種口袋電子管風琴) 怪異音調增音的歌曲。
The title and subject matter were inspired by Stanley Kubrick's 2001: A Space Odyssey and introduced the character of Major Tom.	歌名和主題的靈感來源是史丹利·庫柏力克的《2001：太空漫遊》，並介紹了湯姆少校的角色。
The song dates back as early as February 1969.	這首歌最早追溯至 1969 年 2 月。
It was written for a promotional video named "Love You till Tuesday".	它是為一部名為《愛你到週二》的宣傳影片所寫。
The video's intent was to sell Bowie to a new label as he had been dropped from Deram Records in April 1968.	這段影片的用意是向新的唱片公司推銷鮑伊，因為他在 1968 年 4 月遭到迪拉姆唱片終止合約。
He was urged by his manager Kenneth Pitt to record some new material and so "Space Oddity" was born.	他被經紀人肯尼斯·皮特催促錄製一些新的材料，《太空怪談》因而誕生。
Some commentators have also seen the song as a metaphor for heroin use, citing the opening countdown as analogous to the drug's passage down the needle prior to the euphoric 'hit', and noting Bowie's admission of a "silly flirtation with smack" in 1968.	部分評論家也將該歌曲視為使用海洛因的比喻，引用開場的倒數作為狂喜「發作」之前藥物沿著針頭而下的類比，並註記了鮑伊在 1968 年坦承「與海洛因的一場愚蠢邂逅」。
His 1980 hit "Ashes to Ashes" declared "We know Major Tom's a junkie".	他的 1980 年熱門作品《塵歸塵》宣告「我們知道湯姆少校是癮君子」。
"Unwashed and Somewhat Slightly Dazed" reflected a strong Bob Dylan influence, with its harmonica, edgy guitar sound and snarling vocal.	《卑下又有點茫然》以口琴、前衛的吉他聲和咆哮的歌聲反映出強烈的巴布·狄倫影響力。
"Letter to Hermione" was a farewell ballad to Bowie's former girlfriend, Hermione Farthingale, who was also the subject of "An Occasional Dream", a gentle folk tune reminiscent of the singer's 1967 debut album.	《給赫敏的信》是向鮑伊前女友赫敏·法丁蓋爾的告別情歌；她也是《偶然的夢》的主題，該歌曲是讓人聯想到該歌手 1967 年出道專輯的溫柔民謠曲調。
"God Knows I'm Good", Bowie's observational tale of a shoplifter's plight, also recalled his earlier style.	《上帝知道我很好》是鮑伊對商店扒手處境的觀察敘述，也令人回想起他的早期風格。
"Cygnet Committee" has been called Bowie's "first true masterpiece".	《小天鵝委員會》被稱為鮑伊的「第一部真正的傑作」。
Commonly regarded as the album track most indicative of the composer's future direction, its lead character is a messianic figure "who breaks down barriers for his younger followers, but finds that he has only provided them with the means to reject and destroy him".	這首歌被普遍視為最能象徵作曲者未來方向的專輯曲目，其主角是一位彌賽亞人「為他年輕的追隨者打破隔閡，卻發現他只為他們提供了拒絕和摧毀他的工具」。
Bowie himself described it at the time as a put down of hippies who seemed ready to follow any charismatic leader.	鮑伊本人當時將它形容為，對於似乎準備好追隨任何魅力型領導者的嬉皮的貶低。
Another track cited as foreshadowing themes to which Bowie would return in the 1970s, in this case the fracturing of personality, was "Janine", which featured the words "But if you took an axe to me, you'd kill another man not me at all".	另一首被視為鮑伊將在 1970 年代回歸的伏筆主題 (在此情況下為人格的裂解) 是《珍寧》一曲，其中特別用了「但是如果你將我摧毀，你殺掉可能會是另一個男人，而不是我」字眼。
The Buddhism-influenced "Wild Eyed Boy from Freecloud" was presented in a heavily expanded form compared to the original guitar-and-cello version on the B-side of the "Space Oddity" single; the album cut featured a 50-piece orchestra.	相較於《太空怪談》單曲 B 面的原始吉他和大提琴版本，受到佛教影響的《來自費克勞德的野眼男孩》則是以大量擴展的形式呈現；專輯的特輯是以 50 人管弦樂為特色。
"Memory of a Free Festival" was Bowie's reminiscence of an arts festival he had organised in August 1969.	《自由慶典的記憶》是鮑伊回想他在 1969 年 8 月舉辦過的一場藝術音樂節。
Its drawn-out fade/chorus ("The Sun Machine is coming down / And we're gonna have a party") was compared to The Beatles' "Hey Jude"; the song has also been interpreted as a derisive comment on the counterculture it was ostensibly celebrating.	它冗長的淡出/合唱 (「太陽機器即將落下 / 而我們將舉辦派對」) 被拿來和披頭四「Hey Jude」比較；該歌曲也被詮釋為對表面上讚頌的反文化做出嘲諷評論。
The background vocals for the crowd finale featured Bob Harris, his wife Sue, Tony Woollcott and Marc Bolan among other people.	大合唱終曲的背景演唱特別呈現了鮑伯·哈里斯、他的妻子蘇、東尼·沃柯特和馬克·波倫等人。
In 1970 Bowie cut the tune in half for the A- and B-sides of a more rock-oriented version featuring the band that would accompany him on The Man Who Sold the World later that year: Mick Ronson, Tony Visconti and Mick Woodmansey – an embryonic form of Ziggy Stardust's Spiders From Mars.	1970 年，鮑伊針對較為搖滾導向的版本 A 面和 B 面將曲調減半；該版本主打的是當年稍後和他在《出賣世界的男人》伴奏的樂團：米克·朗森、托尼·維斯康蒂和米克·伍德曼西。此版本是《Ziggy Stardust 來自火星的蜘蛛》的雛形。
NY 215 began at a three-way intersection with NY 360 east of the hamlet of Morton in the town of Hamlin.	NY 215 的開端是與漢姆林鎮摩頓村東邊 NY 360 交會的三向路口。
NY 360 turned off Redman Road here to follow Morton Road west to the hamlet of Morton while NY 215 headed north on Redman Road.	NY 360 在這裡轉離雷德曼路以沿著摩頓路往西至摩頓村，NY 215 則是在雷德曼路上往北前進。
It passed by open, cultivated fields and small pockets of residences as it proceeded through rural northwestern Monroe County.	它在穿越門羅郡西北郊區的途中，行經了開闊的耕田和小型零星的住宅。
After 1.5 miles (2.4 km), NY 215 intersected Moscow Road, a local highway connecting NY 215 to the then-western end of the Lake Ontario State Parkway.	1.5 英哩 (2.4 公里) 之後，NY 215 與莫斯科路交會；這是一條將 NY 215 連接到當時安大略湖州立公園大道西端的當地公路。
North of Moscow Road, the fields on the highway's east side slowly gave way to forested areas as the route approached Hamlin Beach State Park and intersected Cook Road.	莫斯科路北邊，隨著路線接近漢姆林海灘州立公園並和庫克路交會，公路西側的田野慢慢地被樹木叢生的區域取代。
The route terminated 500 feet (150 m) north of Cook Road at the southern boundary of Hamlin Beach State Park.	這條路線的終點在漢姆林海灘州立公園南方邊界的庫克路北邊 500 英呎 (150 公尺) 處。
The physical roadway continued into the park and to nearby Lake Ontario as a local highway.	實體道路繼續進入公園，並作為當地公路前往附近的安大略湖。
The portion of Redman Road north of modern NY 360 in Hamlin was a state highway as early as 1920; however, it was not assigned a designation until the early 1940s, when it became NY 215.	漢姆林現今 NY 360 北邊的雷德曼路部分，早在 1920 年時就是州立公路，但是直到 1940 年代初期才獲派稱號，也就在當時成為 NY 215。
At the time, it was the primary highway to and from Hamlin Beach State Park on the Lake Ontario shoreline, as no continuous east–west lakeside roadway existed at the time.	當時，它是往返安大略湖湖岸之漢姆林海灘州立公園的主要公路，因為那時候沒有連續的東西向湖畔道路。
This changed in the late 1940s and early 1950s following the construction of the Lake Ontario State Parkway, a lakeshore highway connecting the park to NY 261 in Greece.	這一點在 1940 年代晚期和 1950 年代早期建造安大略湖州立公園大道之後改變了；該公園大道是將公園連接至葛利斯的 NY 261 的湖岸公路。
The parkway began east of NY 215 at Moscow Road and provided a direct connection to Hamlin Beach State Park from Greece, and eventually Rochester.	公園大道始自莫斯科路的 NY 215 東邊，並從葛利斯直接銜接到漢姆林海灘州立公園，以及最後的羅徹斯特。
As a result, NY 215 became merely an alternate route to the park.	因此，NY 215 僅成了前往公園的替代路線。
In the early 1970s, the Lake Ontario State Parkway was extended westward across Monroe and Orleans counties to Lakeside Beach State Park in Carlton.	1970 年代初期，安大略湖州立公園大道往西延伸至穿越門羅和奧爾良郡，直到卡爾頓的湖畔海灘州立公園。
NY 215's connection to Hamlin Beach State Park was severed as part of the construction.	在建造的過程中，NY 215 對漢姆林海灘州立公園的連接遭到截斷。
As a result, the remaining portion of NY 215 from NY 360 to Cook Road lost its signed route status and was redesignated NY 941P, an unsigned reference route.	因此，NY 215 從 NY 360 到庫克路的剩餘部分失去了其標示路線狀態，而且重新定名為未標示的參考路線 NY 941P。
The highway remained state maintained until 2007, when ownership and maintenance of it was transferred from the state of New York to Monroe County as part of a highway maintenance swap between the two levels of government.	這條公路一直到 2007 年都是由州政府維護，該年它的擁有權和維修從紐約州轉移給門羅郡，作為兩個政府層級之間公路維護互換的一部分。
A bill (S4856, 2007) to enact the swap was introduced in the New York State Senate on April 23 and passed by both the Senate and the New York State Assembly on June 20.	4 月 23 日在紐約州參議院推行了一項法案 (S4856, 2007) 以頒布此互換事項，並在 6 月 20 日由參議院和紐約州眾議院雙方通過。
The act was signed into law by Governor Eliot Spitzer on August 28. Under the terms of the act, it took effect 90 days after it was signed into law; thus, the maintenance swap officially took place on November 26, 2007. The former routing of NY 941P is now part of CR 236.	這個法案在 8 月 28 日由州長艾略特·史必哲簽署成為法律。根據法案的條款，它在簽署成為法律的 90 天後生效；因此，維護工作的互換在 2007 年 11 月 26 日正式實施。NY 941P 先前的路線現在是 CR 236 的一部分。
Like all species in the genus Lactarius, L. subflammeus is mycorrhizal, forming mutualistic associations with trees.	就像乳菇屬中的所有種類，橙乳菇是與樹木形成互利共生關係的菌根。
The fungus and the plant forms structures called ectomycorrhizae, a specialized sheath of hyphae on the surface of the root from which hyphae extend into the soil and into the outer cortical cells of the root.	這種真菌和植物會形成稱為外生菌根的結構，是根部表面上的特殊菌絲鞘，菌絲從其中延伸到土壤中，並進入根部的外部皮質細胞。
The fruit bodies of L. subflammeus grow scattered to grouped under conifers or in mixed conifer-hardwood forests near pine and spruce, from August to December.	8 月到 12 月間，橙乳菇的子實體會在針葉樹下方或混合針葉闊葉林中松樹及雲杉的附近，分散地生長至成群。
The fungus is widely distributed in the Pacific Northwest, where it is very common in conifer forests.	這種真菌廣泛地分布在太平洋西北地區，在其中的針葉林中非常常見。
The habitat of the type location was coastal sand dunes under pine.	這種模式的棲地地點是海岸沙丘的松樹下方。
States from which the fungus has been collected include Washington, Idaho, Oregon, California, and Colorado.	曾經採集到這種真菌的州包括華盛頓、愛達荷、奧勒岡、加州和科羅拉多。
The mushroom's range extends north into Canada, where it has been found near Victoria, British Columbia in coastal forests dominated by Douglas-fir (Pseudotsuga menziesii).	這種真菌的範圍延伸至加拿大，曾在卑詩省維多利亞附近主要生長花旗松 (Pseudotsuga menziesii) 的海岸森林中發現。
Brooks left St.	布魯克斯離開了聖
Ives and moved to Paris.	艾維斯並搬到巴黎。
Poor young painters such as Pablo Picasso and Henri Matisse were creating new art in the Bohemian districts of Montparnasse and Montmartre.	像帕布羅·畢卡索和亨利·馬諦斯這類的年輕窮畫家，都在蒙帕納斯和蒙馬特的波西米亞區創作新藝術。
In contrast, Brooks took an apartment in the fashionable 16th arrondissement, mingled in elite social circles, and painted portraits of wealthy and titled women.	相反地，布魯克斯在時尚的第 16 區租下一間公寓、與上流社交圈交往，並畫出富裕且有地位的女性肖像。
These included her current lover, the Princess de Polignac.	這些肖像包括她當時的情人，波利尼亞克公主。
In 1910 Brooks had her first solo show at the prestigious Gallery Durand-Ruel, displaying thirteen paintings, almost all of women or young girls.	1910 年，布魯克斯在具聲望的杜朗魯耶畫廊舉辦第一場個展，展示了十三幅畫作，幾乎全數都是女性或年輕女孩。
Some were portraits; others showed anonymous models in interior scenes or against tonal backgrounds, often with pensive or withdrawn expressions.	有些是肖像；其他則是展示在室內場景或使用調色背景的匿名模特兒，通常帶有哀愁或孤僻的表情。
The paintings were generally naturalistic, showing an attentive eye for the details of Belle Époque fashion, with parasols, veils, and elaborate bonnets on display.	這些畫作普遍來說屬自然主義，展現了洋傘、面紗和精緻的無邊女帽，顯示出對美好年代時尚的細微觀察。
Brooks included two nude studies in this first exhibition—a provocative choice for a woman artist in 1910.	布魯克斯在這個第一場展覽中納入了兩幅裸體習作──這在 1910 年對於女性藝術家而言是相當大膽的選擇。
In The Red Jacket, a young woman stands in front of a large folding screen, wearing only a small open jacket, with her hands behind her back.	在《紅外套》中，有一位年輕女性站在大型摺疊屏風前，僅穿著一件小型開襟外套，並將雙手放在背後。
She is so frail, and her downcast face looks so forlorn that one contemporary reviewer referred to her as a consumptive; Brooks described her simply as "a poor girl who was cold".	她非常虛弱，而且垂頭喪氣的臉看起來如此悲慘，以至於一位當代評論家將她稱為肺病患者；布魯克斯僅將她形容為「感到寒冷的窮女孩」。
The other, White Azaleas, is a more sexually charged nude study of a woman reclining on a couch.	另一幅《白色杜鵑花》是一位女性斜躺在沙發上、更充滿色情意味的裸體習作。
Contemporary reviews compared it to Francisco de Goya's La maja desnuda and Édouard Manet's Olympia.	當代評論將它與法蘭西斯科·哥雅的《La maja desnuda》和愛德華·馬奈的《奧林匹亞》進行比較。
Unlike the women in those paintings, the subject of White Azaleas looks away from the viewer; in the background above her is a series of Japanese prints which Brooks loved.	與那些畫作中的女性不同的是，《白色杜鵑花》主角的視線避開了觀賞者；她上方的背景中是布魯克相當喜愛的一系列日本版畫。
The exhibition established Brooks' reputation as an artist.	該展覽確立了布魯克斯的藝術家聲望。
Reviews were effusive, and the poet Robert de Montesquiou wrote an appreciation calling her "the thief of souls." The restrained, almost monochromatic decor of her home also attracted attention; she was often asked to give advice on interior design, and sometimes did, though she did not relish the role of decorator.	評論相當熱烈，詩人羅伯特·德孟德斯鳩還寫了一篇賞析，稱她為「靈魂偷竊者」。她家中樸素到幾乎單色的裝飾也引起了注意；經常有人要求她提供室內設計的建議，而儘管她並不喜歡裝潢師的角色，有時候還是會提供。
Brooks became increasingly disillusioned with Parisian high society, finding the conversation dull, and feeling that people were whispering about her.	布魯克斯對於巴黎上層社會的幻想逐漸破滅，因為她發現對話乏味，而且覺得人們私底下都在議論她。
Despite her artistic success, she described herself as a lapidée—literally, a victim of stoning.	即使在藝術上獲得成功，她仍然形容自己為 lapidée—字面上的意思是遭石頭砸死的受害者。
In 1909 Brooks met Gabriele D'Annunzio, an Italian writer and politician who had come to France to escape his debts.	1909 年，布魯克斯遇見了加布里埃爾·達努吉歐，一位到法國躲避債務的義大利作家和政治家。
She saw him as a martyred artist, another lapidé; he wrote poems based on her works and called her "the most profound and wise orchestrator of grays in modern painting".	她將他視為具犧牲精神的藝術家，也就是另一個 lapidé；他以她的作品寫了詩，並稱她「在現代繪畫中最有深度和智慧的灰色編排者」。
Astrocytes form gap junctions and are closely associated with the vasculature and its basal lamina in the adult SVZ and subsequently in the RMS.	星狀細胞會形成裂隙接合，而且與成體 SVZ 和之後 RMS 中的血管分布及其基底層密切相關。
They may serve as an interface to modulate influences of endothelial and circulation-derived factors as well as the availability of cytokines and growth factors in this system.	它們可能有介面的作用，可調節內皮和循環衍生因子的影響，以及此系統的細胞激素可用性和成長因子。
In addition, astrocytes derived from the neurogenic hippocampus and SVZ, but not from the non-neurogenic spinal cord, promote proliferation and neuronal fate commitment of multipotent adult neural stem cells in culture, suggesting a role in the RMS.	此外，衍生自神經性海馬迴和 SVZ，而不是來自非神經性脊隨的星狀細胞，在培養中會促進多潛能成體神經幹細胞的增生和神經命運承諾，意指在 RMS 中有所作用。
Astrocytes express a number of secreted and membrane-attached factors both in vitro and in vivo that are known to regulate proliferation and fate specification of adult neural precursors as well as neuronal migration, maturation, and synapse formation.	星狀細胞在試管和活體內都表現出多個隱匿且附著在膜上的因子，而它們已知會控制成體神經前驅細胞的增生和命運特化，以及神經元移行、成熟和突觸形成。
In the adult SVZ, astrocytes express Robo receptors and regulate the rapid migration of SLIT1-expressing neuroblasts through the RMS.	在成體 SVZ 中，星狀細胞會表現 Robo 受體，並透過 RMS 來調節表現出 SLIT1 之神經母細胞的快速移行。
Additionally, it has been proposed that the neuroblasts themselves play a role in modulating the astrocytes through Slit-Robo interactions.	此外，也有人提出神經母細胞本身會透過裂隙-Robo 互動的方式，在調節星狀細胞方面發揮作用。
In the absence of Slit, astrocytic processes do not align correctly, or create the "tubes", instead running across the migrating neurons.	缺少裂隙時，星狀細胞處理就無法正確調整，或是會產生「管壁」，而不是穿過移行神經元。
Adult SVZ astrocytes also appear to release glutamate to regulate the survival of neuroblasts.	成體 SVZ 星狀細胞似乎也會釋放麩胺酸鹽來調節神經母細胞的存活。
Unique to the adult SVZ, ependymal cells lining the ventricular wall are in close association with neural precursors and their progeny, acting like a shield to protect the "neurogenic niche", a zone in which stem cells are retained after embryonic development for the production of new cells of the nervous system.	成體 SVZ 獨有的是，心室壁內襯的室管膜細胞與神經前驅細胞及其子代密切相關，有如盾牌一樣保護「神經性利基」，也就是是胚胎發育後保留幹細胞以便神經系統產生新細胞的區域。
Ependymal cells actively regulate neuronal fate specification of adult neural precursors through release of Noggin.	室管膜細胞會透過釋放 Noggin 來主動調節成體神經前驅細胞的神經元命運特化。
Beating of the cilia of ependymal cells appears to set up concentration gradients of guidance molecules, such as cytokines TNF-α (tumor necrosis factor) and IGF-1 (insulin-like growth factor), to direct migration of neuroblasts, such as in the RMS.	室管膜細胞的纖毛拍打似乎會設定導向分子 (例如細胞激素 TNF-α (腫瘤壞死因子) 和 IGF-1 (似胰島素生長因子)) 的濃度梯度，能夠引導神經母細胞的移行，例如在 RMS 中。
Microglia also actively regulate adult neurogenesis.	神經膠質細胞也會主動調節成體神經生成。
Under basal conditions, apoptotic corpses of newly generated neurons are rapidly phagocytosed from the niche by unactivated microglia in the adult SGZ.	在基本狀態下，成體 SGZ 中新產生之神經元的凋亡屍體會被未活化的小神經膠質細胞從利基快速吞噬。
Under inflammatory conditions, reactivated microglia can have both beneficial and detrimental effects on different aspects of adult neurogenesis, depending on the balance between secreted molecules with pro- and anti-inflammatory action.	在發炎狀態下，視隱匿分子與促進發炎和抗發炎作用之間的平衡而定，重新活化的小神經膠質細胞可能會對成體神經生成的不同層面同時帶來有益和有害的影響。
In one study, the activation of microglia and recruitment of T cells were suggested to be required for enriched environment-induced SGZ neurogenesis, suggesting a possible role in the RMS.	在一項研究中，建議需要活化小神經膠質細胞和補充 T 細胞才能濃化環境誘發的 SGZ 神經新生，意指在 RMS 中可能有所作用。
Cells in the RMS are believed to move by "chain migration".	RMS 中的細胞被認為是透過「連鎖移行」移動。
These neuroblasts are connected by membrane specializations including gap junctions and adherens junctions, moving along each other towards the olfactory bulb through glial tubes.	這些神經母細胞是以包括裂隙接合和黏連結合等膜特化方式連結，會順著彼此透過神經膠細胞管移向嗅球。
The pathway and mechanisms behind this movement are a ventriculo-olfactory neurogenic system (VONS), a glial framework, and a chemotaxic cell signalling system.	這種移動背後的途徑和機制是腦室-嗅覺神經性系統 (VONS)、神經膠細胞架構和趨化性細胞傳信系統。
The olfactory system is made up in part of the RMS which stretches from the subventricular zone in the wall of the lateral ventricle, through the basal forebrain, to the olfactory bulb (OB).	嗅覺系統一部分是由延伸自側腦室壁之腦室下區的 RMS 所組成，穿過基底前腦直到嗅球 (OB)。
VONS is the name given to this pathway, and it consists of the subventricular zone, the RMS, the olfactory tract and the olfactory bulb.	VONS 是此途徑的命名，而且是由腦室下區、RMS、嗅神經束和嗅球所組成。
On January 21, 2007, the Regional Specialized Meteorological Centre in Nadi, Fiji identified a tropical depression, which was given the number 08F, about 435 km (270 mi) west-northwest of Savai'i island in Samoa.	2007 年 1 月 21 日，位於斐濟納迪的區域專責氣象中心發現了一個熱帶低壓，並為其提供編號 08F，大約在薩摩亞薩瓦伊島西北西 435 公里 (270 英哩) 處。
The depression slowly traveled towards the east-southeast for several days as the overall structure of the storm fluctuated due to diurnal variations and strong wind shear.	該低氣壓數天緩慢地移向東南東，同時暴風整體結構因為日變化和強烈風切而有所波動。
Around 1700 UTC on January 22, the Joint Typhoon Warning Center (JTWC) issued a Tropical Cyclone Formation Alert for the depression.	大約 1 月 22 日 17:00 UTC 時，聯合颱風警報中心 (JTWC) 針對這個低壓發出熱帶氣旋形成警報。
The system developed a large banding feature in the northern portion of the circulation and deep convection formed around the center of circulation.	該系統在環流的北邊部分發展出大型的成帶現象，並在環流中心附近形成深對流。
The depression had moved into an area of weak to moderate wind shear with favorable diffulence aloft.	這個低氣壓曾進入一個高空具備有利分流的弱至中度風切區域。
Later that day, gale warnings were issued for the northeastern quadrant of the system.	當天稍晚針對該系統的東北象限發出了強風警報。
Tropical Depression 08F continued to develop as an anticyclone developed above the system, enhancing the environment around it.	熱帶低壓 08F 持續發展，同時系統上方發展出一個反氣旋，因此強化了它周邊的環境。
A mid-latitude trough located north of the depression was steering it towards the east.	一個位於低壓北邊的中緯度低壓槽使它往東轉向。
Early on January 24, the system became better organized and strengthened into a cyclone at 0600 UTC.	1 月 24 日一早，該系統變得結構更穩固，並在 06:00 UTC 增強成氣旋。
The storm, which was named Arthur by the RSMC Nadi, began to undergo rapid intensification as the structure improved significantly.	這個由納迪 RSMC 命名為亞瑟的風暴開始快速增強，同時結構大幅增進。
Deep convection developed around the center with strong outflow towards the north.	中心附近發展出深對流，且帶有往北的強勁外流。
Several hours after becoming a cyclone, the JTWC issued their first advisory on Tropical Cyclone 09P as it traveled quickly towards the east-southeast.	成為氣旋之後數小時，隨著熱帶氣旋 09P 快速移向東南東，JTWC 對它發出了第一個警示。
The quick movement was due to the influences of subtropical ridge to the north and a trough to the south.	這個快速移動是北邊的副熱帶脊和南邊的低壓槽影響所造成。
Later that day, a banding eye feature began to develop as the storm intensified into a Category 2 cyclone on the Australian intensity scale.	當天稍晚，暴風增強成澳洲強度等級的 2 級氣旋時，一個雲捲風眼形貌開始發展。
At 1800 UTC, the JTWC assessed Arthur to have reached its peak intensity with winds of 120 km/h (75 mph 1-minute winds), the equivalent of a minimal Category 1 hurricane on the Saffir-Simpson Hurricane Scale.	18:00 UTC 時，JTWC 評估亞瑟已達到最高強度，具備 120 km/h (1 分鐘風速 75 mph)，等於薩菲爾-辛普森颶風風力等級的 1 級颶風最低程度。
Early on January 25, Arthur reached its peak intensity with winds of 110 km/h (70 mph 10-minute winds) with a minimum pressure of 975 hPa (mbar) while located about 635 km (350 mi) north-northwest of Rarotonga.	1 月 25 日一早，亞瑟位在拉羅湯加北北西約 635 公里 (350 英哩) 時，以 110 km/h 的風 (10 分鐘風速 70 mph) 和最低氣壓 975 hPa (mbar) 達到最高強度。
Shortly after peaking in intensity, Arthur began to undergo an extratropical transition and rapidly deteriorated due to strong wind shear.	在強度達到巔峰後不久，亞瑟開始經歷溫帶氣旋轉換，並因為強勁的風切而迅速劣化。
The storm also began to merge with a low-level frontal boundary associated with the remnants of Tropical Cyclone Zita.	暴風也開始與殘餘的熱帶氣旋思蒂關聯的低層前邊界合併。
The strong shear left the center of circulation partially exposed, with deep convection persisting in only the southeastern quadrant.	強勁的風切使得環流中心有一部分暴露在外，只在東南象限持續存在深對流。
In addition to the shear, dry air began to enter the system, causing it to weaken further.	除了風切之外，乾空氣也開始進入系統，導致它進一步減弱。
The olm is a symbol of Slovenian natural heritage.	洞螈是斯洛維尼亞自然遺址的象徵。
The enthusiasm of scientists and the broader public about this inhabitant of Slovenian caves is still strong 300 years after its discovery.	在發現這種斯洛維尼亞洞穴棲息動物的 300 年後，科學家和普羅大眾對於牠的熱情仍然不減。
Postojna Cave is one of the birthplaces of speleobiology due to the olm and other rare cave inhabitants, such as the blind cave beetle.	由於波斯托伊納洞穴有洞螈和其他稀有洞穴棲息動物 (例如盲眼洞穴甲蟲)，因此是洞穴生物學的發源地之一。
The image of the olm contributes significantly to the fame of Postojna Cave, which Slovenia successfully utilizes for the promotion of ecotourism in Postojna and other parts of Slovenian karst.	洞螈的形象對波斯托伊納洞穴的名聲大有貢獻，斯洛維尼亞還成功地利用牠來推廣波斯托伊納及斯洛維尼亞其他喀斯特地形的生態旅遊。
Tours of Postojna Cave also include a tour around the speleobiological station – the Proteus vivarium, showing different aspects of the cave environment.	波斯托伊納洞穴之旅也包括在洞穴生物學站 (洞螈生態館) 周圍遊覽，該處展示了洞穴環境的不同層面。
The olm was also depicted on one of the Slovenian tolar coins, and was the namesake of Proteus, the oldest Slovenian popular science magazine, first published in 1933.	洞螈也描繪在其中一種斯洛維尼亞托拉爾硬幣上，而且與斯洛維尼亞最古老、首次出版於 1933 年的大眾科學雜誌《Proteus》同名。
Heavy rains from the storm affected the Philippines, causing flooding that forced 3,500 people to evacuate their houses.	暴風帶來的大雨影響了菲律賓，所導致的水患迫使 3,500 人撤離家園。
This occurred after a month of heavy rainfall from several tropical cyclones in July.	這發生在 7 月時多個熱帶氣旋帶來豪雨之後的一個月。
Officials closed schools and advised small boats to remain at port.	官方關閉了學校並建議小型船隻留在港口。
A vessel capsized offshore Antique Province, and its crew of 15 was rescued.	一艘船在安蒂克省翻覆，15 位船員均獲救。
At least six people died due to electrocution, after downed power lines touched floodwaters.	倒塌的電力線路觸及洪水後，至少六人因觸電而死亡。
The storm spawned a tornado and caused landslides in Negros Oriental.	暴風釀成龍捲風，並導致東內格羅發生山崩。
The storm killed 35 people in the country and injured 22 others.	暴風在這個國家奪走 35 人的性命，還有 22 人受傷。
Damage was estimated at $3.3 million (₱172 million 2002 PHP).	損失估計為 330 萬美元 (2002 年版菲律賓比索為 1 億 7200 萬)。
Milenyo was the final storm to be named by PAGASA during 2002.	Milenyo 是菲律賓大氣地球物理天文服務管理局在 2002 年期間命名的最後一個暴風。
On August 17, the Hong Kong Observatory (HKO) issued standby signal number 1 due to the storm's reformation in the South China Sea.	8 月 17 日，因為暴風在南中國海重整，香港天文台 (HKO) 發出了 1 號戒備信號。
Vongfong made landfall west of the territory, although its outer rainbands spread across the region.	黃蜂在此地區的西部造成山崩，但其外圍雨帶遍布整個地區。
Slick roads contributed to a traffic accident in Sai Kung in which one person was killed.	濕滑道路導致西貢發生交通意外，一人因此喪生。
Rainfall in Hong Kong reached 133 mm (5.2 in) in the town of Kwai Chung.	香港的降雨在葵涌鎮達到 133 毫米 (5.2 英吋)。
The rainbands also produced gusty winds; sustained winds peaked at 75 km/h (47 mph), with gusts to 110 km/h (68 mph) at the mountain peak of Tai Mo Shan.	雨帶也產生陣風；持續風最高達到 75 km/h (47 mph)，且大帽山的山頂有 110 km/h (68 mph) 的陣風。
While moving ashore, Vongfong produced a storm surge of 0.48 m (1.6 ft) in Shek Pik.	黃蜂往陸上移動時，在石壁產生 0.48 公尺 (1.6 英呎) 的暴潮。
The storm downed a few trees across the territory, and a fallen branch injured one man.	暴風使此地區的多棵樹倒塌，且有傾倒的樹枝導致一人受傷。
Another person was injured by a damaged awning.	還有一人因為損壞的天篷而受傷。
In Hainan, the threat from Vongfong prompted officials to close the primary airport and to restrict sea traffic with Guangdong.	在海南，黃蜂的威脅促使官方關閉主要機場並禁止與廣東的海上交通。
As a result, 113 flights were delayed, stranding more than 3,000 people.	113 個航班因此延誤，超過 3,000 人受困。
On the island, rainfall reached as high as 240 mm (9.4 in) in Haikou over a three-day period.	在島上，為期三天的降雨在海口高達 240 毫米 (9.4 英吋)。
On 3 February, the head of the State Emergency Service (SES) and then-Premier Joh Bjelke-Petersen toured northern Queensland to inspect damage.	2 月 3 日，國家緊急服務 (SES) 和當時的總理喬·貝爾克-彼德森前往昆士蘭北部視察損害。
The government of Australia vowed to assist by providing financial and emergency services, also offering to provide aid to banana and sugar cane farmers who suffered losses as a result of Winifred.	澳洲政府誓言以提供財務和緊急服務來援助，也提議向因為溫尼佛萊德蒙受損失的香蕉和甘蔗農民提供援助。
Two government helicopters were sent shortly thereafter, assessing the severity of damage, evacuating residents, and delivering food.	之後不久便派出兩架政府直升機，以評估損害的嚴重程度、撤離居民和提供食物。
Bjelke-Petersen later expressed anger at the federal government for having increased the threshold for disaster relief before raising loans, and also stated that the Federal Minister for Primary Industry, John Kerin, had no right to accompany him on his visit to northern Queensland, only offering to discuss an offer provided that the federal government was willing to provide financial assistance.	貝爾克-彼德森之後對聯邦政府在借款之前提高災害救濟的門檻表達了憤怒，也聲明聯邦產業部部長約翰·柯瑞恩無權陪同他前往昆士蘭北部訪視，且只願意在聯邦政府願意提供財務援助的前提下討論提議。
Approximately 500 volunteers for the SES were deployed the same day, reinstating electrical and other essential services, evacuating regional citizens, delivering bread to numerous towns, and sending 700 tarpaulins to shield roofless houses.	同一天部署了約 500 位 SES 的志工，將電力和其他必要的服務復原、撤離地方居民、為多個城鎮提供麵包，以及發送 700 張防水布來遮蔽無屋頂的房屋。
Rescue and relief work was hindered by high traffic on telephone networks, forcing Telecom to cease calls between Townsville and Ingham.	救援和救濟工作因為電話網的高話務量而受到阻礙，迫使電信公司中止湯斯維爾和英厄姆之間的通話。
Emergency crews of the government's Department of Social Security (DSS) visited locations throughout the region, receiving damage claims, requests for monetary aid, and filings for unemployment benefits.	來自政府社會服務部 (DSS) 的緊急人員訪視了整個地區的各個地點，收到了損害索償、金錢援助的要求，以及失業給付的申請。
The Commonwealth pledged to provide $150 million in relief over a three-year period to the government of Queensland in exchange for deregulation; however, its offer was initially rejected.	澳洲聯邦銀行允諾向昆士蘭政府提供為期三年的 1.5 億元救濟金來交換解除管制；但是其提議一開始就遭到否決。
Planes flew claims adjusters and other officials to Innisfail, establishing an insurance emergency service in the city hall, while the Insurance Council of Queensland deployed its special emergency service employees for the first time.	飛機載著理算師及其他官員前往因尼斯費爾，在市政廳設立保險緊急服務，同時昆士蘭保險理事會則是首次部署了特殊緊急服務人員。
As a result of severe damage, a disaster declaration for northern regions was issued by Queensland Government on 4 February.	由於嚴重損害，昆士蘭政府在 2 月 4 日針對北部地區發出了一則災害聲明。
The first $10 million in aid from the state government, paid by the federal government, was supplied the same day.	來自國家政府、由聯邦政府支付的第一筆 1000 萬元援助，就在同一天提供。
Meanwhile, the SES continued its cleanup efforts, removing debris and repairing structures.	同時，SES 持續進行清理工作，清除殘骸和修復建築物。
Looters took advantage of confusion in the days following the cyclone, striking residences throughout Innisfail.	打劫者趁著氣旋發生後幾天的混亂情況，入侵了因尼斯費爾各處的住宅。
By the end of the day, 2200 tarpaulins had been distributed; however, the previously-smooth relief efforts were impeded by thunderstorms in Cairns.	當天結束時已分發 2200 張防水布；但是先前很順利的救濟工作因為凱恩斯的雷雨而受到阻礙。
The Bureau of Meteorology (BoM) was subject to scrutiny in the aftermath of Winifred, and was criticized for its lack of advance warning.	澳洲氣象局 (BoM) 理應密切監控溫尼菲爾德的後續情況，但因為未提供預警而受到批評。
Advices and warnings were received by regional television and radio stations up to 15 minutes late following issuance.	地方電視台和電台在發出預警之後長達 15 分鐘才收到建議和警示。
Winifred's sudden and unexpected turn was little-anticipated by BoM meteorologists, with employees unable to verify the cyclone's centre from the Cairns radar until only about 9:30 a.m. on 1 February, with radar error of up to 44 km (27 mi) observed.	溫尼菲爾德突如其來的轉向使 BoM 氣象學者措手不及，因為他們的人員一直到 2 月 1 日上午約 9:30 才得以透過凱恩斯雷達確認氣旋的中心，且觀察到的雷達誤差高達 44 公里 (27 英哩)。
However, a Flash Tropical Cyclone Advice was immediately issued shortly thereafter, reaching media outlets near noon that day.	但是，在那之後不久立即發出的緊急熱帶氣旋通知，將近當天中午才傳達至媒體管道。
Media outlets went suggested the creation of a new Tropical Cyclone Warning Centre (TCWC) in Townsville as a result, but the suggestion was dismissed, with a centre already established in Brisbane.	媒體管道因此開始建議在湯斯維爾建立新的熱帶氣旋警報中心 (TCWC)，但是該建議並未獲得考慮，因為布里斯本已經設立了一個中心。
A spokesman for the SES stated that no warning was given by the BoM at 9 a.m., with the storm's alarming approach; the Service had initially been anticipating the storm's recurvature out to sea, only to receive a flash warning hours later.	一位 SES 發言人表示，BoM 並未在上午 9 點發出任何警示，但當時暴風正步步逼近；該服務一開始預期暴風會轉向出海，但是數小時後才收到緊急警報。
Rowan Kaiser of The A.V. Club gave a positive review, praising the intersecting storylines and the references to the previous season.	《影音俱樂部》的羅文·凱瑟給了正面的評價，讚許交錯的故事情節以及引據前一季的內容。
"More generally, [the plot lines] show that Veronica Mars has created a strong enough world that it can support much higher levels.	「更廣泛地說，[情節] 顯示出《偵探小天后》創造的世界強大到足以支持更高的等級。
I have been, and still somewhat am, dubious about the pace at which this season is moving.	我過去曾 (現在仍有點) 懷疑這一季的發展步調。
But this was a great episode, even with all its density and the fact that it was essentially all setup.	但這一集非常棒，即使它是如此緊湊，而且實際上原本都是設計好的。
And it was great because it was attached to the history of the show so far." Television Without Pity gave the episode an "A".	而且它很棒，因為它連結到此影集至今的歷程。」《不留情面的電視》給這一集「A」。
Price Peterson, writing for TV.com, wrote in his episode verdict that "This episode was great, if way more grim than usual.	為 TV.com 撰稿的普萊斯·彼得森在他的影集評論中寫道「這一集很棒，甚至比平常更殘忍。
Between Abel's offscreen cancer death to Amelia's icy resting place…there was a real whiff of death in this episode." Complex ranked Kim Stolz's cameo on its list of "the 25 worst cameos in TV history." BuzzFeed ranked the episode forty-fifth on its list of the best Veronica Mars episodes, criticizing the Clarence Wiedman plot while writing that "we get to see some prime banter between Logan and Cliff, two of the show’s funniest characters."	從鏡頭外亞伯因癌症死亡，到愛米莉亞冰冷的安息之地……這一集有一股真實的死亡氣息。」《Complex》將基姆·斯托爾茲列入其「電視史上最差近的 25 個客串」名單中。BuzzFeed 將該集列為最佳《偵探小天后》影集清單中的第四十五名，在批判克拉倫斯·威德曼情節的同時寫道「我們看到了影集中最有趣的兩個角色──羅根和克里夫之間一些相當優質的逗趣內容。」
The peoples known to us as the Angles, Saxons, Jutes and Frisians, began to arrive in Britain in the 5th century.	我們所知的盎格魯人、薩克遜人、朱特人和弗里斯蘭人在第 5 世紀開始抵達英國。
By 600, a number of kingdoms had begun to form in southern and eastern Britain, and by the beginning of the seventh century, southern England was almost entirely under their control.	到了 600 年，英國南部和東部開始形成數個王國，到第七世紀初時，英格蘭南部幾乎完全在他們的控制之下。
Tytila was a member of the Wuffingas family, the ruling dynasty of the Kingdom of the East Angles that was named after his father Wuffa.	泰提拉是沃芬加斯家族的成員之一；該家族是東盎格魯王國的統治王朝，以他父親沃法命名。
The Wuffingas may have been descendants of an earlier Scandinavian dynasty.	沃芬加斯家族可能是早期斯堪地那維亞王朝的後代。
Both he and his father are semi-historical figures.	他和他的父親都是半個歷史人物。
The Victorian ethnologist John Beddoe noted the similarity between the name Tytila and that of Totila, an Ostrogoth king.	維多利亞時代民族學者約翰·貝德注意到，泰利亞這個名字和東哥德國王托帝拉的名字之間有所相似。
Tytila is included in a number of different tallies.	許多不同的記錄中都將泰提拉納入其中。
The 9th century Welsh monk Nennius, in his Historia Brittonum, also lists Tytila, naming him as the father of Eni of East Anglia: '...Uffa, who begat Tytillus, who begat Eni,...' whilst relating the origin of the kings of East Anglia.	第 9 世紀威爾斯僧侶內尼厄斯在他的《不列顛人的歷史》中也將泰提拉稱作西盎格魯厄尼的父親：「...Uffa, who begat Tytillus, who begat Eni,...」，同時敘述了東盎格魯國王發源地。
Tytila is included in an East Anglian royal tally that lists the ancestors of Ælfwald and that names many, but not all, of the early East Anglian kings.	泰提拉被納入東盎格魯皇家記錄中；該記錄列出了阿爾夫瓦德的祖先，也列出多位 (但非全部) 早期的東盎格魯國王。
The tally, which forms part of the Anglian collection, comes from the 12th century Textus Roffensis.	該記錄成為來自 12 世紀 Textus Roffensis 之《盎格魯記載》的一部分。
In October 2016, Marvel confirmed that main cast members Clark Gregg as Phil Coulson, Ming-Na Wen as Melinda May, Chloe Bennet as Daisy Johnson / Quake, Iain De Caestecker as Leo Fitz, Elizabeth Henstridge as Jemma Simmons, Henry Simmons as Alphonso "Mack" MacKenzie, and John Hannah as Holden Radcliffe would be starring in the episode.	2016 年 10 月，漫威確認了主要劇組成員克拉克·格雷格 (飾演菲爾·考森)、溫明娜 (飾演梅琳達·梅)、汪可盈 (飾演黛西·約翰森/震波女)、伊恩·德·卡斯泰克 (飾演里奧·費茲)、伊麗莎白·韓斯翠奇 (飾演潔瑪·西蒙斯)、亨利·西蒙斯 (飾演艾爾方索·「麥克」·麥肯齊)，以及約翰·漢納 (飾演霍登·瑞克里夫) 將在該集中演出。
Also revealed was the guest cast for the episode, including Jason O'Mara as Director Jeffrey Mace, Gabriel Luna as Robbie Reyes, Parminder Nagra as Senator Nadeer, Maximilian Osinski as Agent Davis, Patrick Cavanaugh as Burrows, Jose Zuniga as Eli Morrow, Kerr Smith as Joseph Bauer, James Edson as Warden Green, Ricardo Walker as Agent Prince, Sky Soleil as corrections officer, Rolando Molina as Santino, Brandon Keener as Harlan, Jermaine Jacox as ferocious watchdog, Lilli Birdsell as Lucy Bauer, Ward Roberts as Hugo, Usman Ally as Vincent and Devin Barry as producer.	同時也揭露了這一集的嘉賓陣容，包括傑森·歐瑪拉 (飾演局長傑弗里·梅斯)、蓋布瑞·盧納 (飾演惡靈騎士)、帕敏德·娜格拉 (飾演參議員納迪爾)、麥西米利安·奧辛斯基 (飾演特工戴維斯)、派崔克·卡凡納 (飾演伯羅斯)、荷西·祖尼加 (飾演埃利·莫羅)、科爾·史密斯 (飾演喬瑟夫·鮑爾)、詹姆斯·艾德森 (飾演典獄長格林)、里卡多·沃克 (飾演特工普林斯)、史蓋·索雷耶 (飾演獄警)、羅蘭多·莫里納 (飾演桑提諾)、布蘭登·基納 (飾演哈倫)、傑曼·傑考克斯 (飾演殘酷的看門狗)、莉莉·伯德塞爾 (飾演露西·鮑爾)、沃德·羅伯茲 (飾演雨果)、烏斯曼·阿利 (飾演文森)，以及德文·貝瑞 (飾演製造者)。
O'Mara, Luna, Nagra, Osinski, Cavanaugh, Zuniga, Smith, Walker, Birdsell, Roberts, and Ally reprise their roles from earlier in the series.	歐瑪拉、盧納、娜格拉、奧辛斯基、卡凡納、祖尼加、史密斯、沃克、伯德賽爾、羅伯茲和阿利都是繼先前該系列影集之後再次演出其角色。
George Stephanopolous also appears in the episode, as himself.	喬治·史蒂芬諾波洛斯也在該影集中出現，飾演他自己。
The episode's prison setting was realized with a mixture of location filming at a real prison, and constructed sets.	該影集的監獄場景是以真實監獄的外景拍攝和建構場景混合製成。
The first scene shot for the episode was the heart-to-heart between Johnson and May.	該集的第一個場景鏡頭是強森和梅之間的交心對談。
As big fans of Stephen King, the writers had the character Santino read a Spanish version of King's book Pet Sematary while in his jail cell.	編劇們是史蒂芬·金的超級粉絲，因此讓桑提諾的角色在牢房時閱讀金所寫的《禁入墳場》一書的西班牙文版。
For the prop of the Darkhold, introduced in this episode, Lilla suggested that the book's cover should feature the word "Darkhold" as an ambigram, with the series' props department designing a new font to achieve this.	至於本集所介紹的黑暗神書道具，莉拉建議該書的封面應特別以對稱字的方式顯示「Darkhold」字樣，因此影集的道具部門設計了新的字體來實現此目標。
The prop department had two weeks to create the book before it was needed for filming the episode, with the final book assembled by a bookbinder using aged, vellum pages that were filled with text and illustrations inspired by Leonardo DaVinci's Vitruvian Man.	在影集拍攝需要用到這本書之前，道具部門有兩週的時間創作，而最終的書本是由裝訂商使用古老的牛皮紙頁裝訂而成，頁面上寫滿靈感來自李奧納多·達文西之《維特魯威人》的文字和插圖。
The episode reveals that Mace became a public hero after the bombing of a United Nations meeting in Vienna, an event depicted in Captain America: Civil War.	這一集透露出，梅斯在維也納的聯合國會議爆炸案之後成了大眾英雄 (此事件在《美國隊長：英雄內戰》中有所敘述)。
Mace was one of the many diplomats at the meeting, and was photographed saving another's life.	梅斯是會議上的眾多外交人員之一，並在拯救他人性命時被拍攝到。
However, the episode does indicate that Mace may not be telling the truth about this.	但是，這一集暗示了梅斯對此可能並未吐實。
"Lockup" was first aired in the United States on ABC on October 25, 2016.	《牢獄之災》於 2016 年 10 月 25 日在美國的 ABC 首次播映。
It began streaming on Netflix, along with the rest of the fourth season, on June 15, 2017.	它和第四季的其他內容於 2017 年 6 月 15 日開始在 Netflix 串流。
In the United States the episode received a 0.8/3 percent share among adults between the ages of 18 and 49, meaning that it was seen by 0.8 percent of all households, and 3 percent of all of those watching television at the time of the broadcast.	在美國，這一集在 18 到 49 歲的成人間獲得了 0.8/3 個百分比，意即所有家戶中有 0.8% 看過該集，播映時所有正在看電視的人當中則是有 3% 在收看。
It was watched by 2.30 million viewers.	有 230 萬觀眾收看過。
Within a week of its release, "Lockup" had been watched by 4.55 million U.S. viewers, just above the season average of 4.22 million.	在上映之後的一週內，已有 455 萬個美國觀眾看過《牢獄之災》，剛好超過該季平均值 422 萬。
Writing for The A.V. Club, Alex McCown-Levy graded the episode a 'B+', calling it "a fast-moving and fun adventure, the kind of race-against-time scenario that remains the series’ strong suit [which] played to the show’s strengths on numerous levels".	為《影音俱樂部》撰稿的艾力克斯·麥克寇恩-李維將這一集評分為「B+」，稱它是「步調快且有趣的冒險，與時間賽跑這類場景仍然是這部影集的強項，在多個層級上都發揮出這部影集的優勢。」
He highlighted Johnson's fight against the prisoners, and Woods' direction of that scene, as well as the heart-to-heart between Johnson and May.	他特別提到強森與受刑人的打鬥、伍茲對該場景的執導，以及強森和梅之間的交心對談。
McCown-Levy also felt "the show is having the most narratively efficient season yet, effectively balancing mission-of-the-week adventures with the longer plots", but was critical of Lucy and the low stokes of the villains.	麥克寇恩-李維也覺得「這一季是目前為止最具故事效率的節目，有效地平衡了當週任務冒險與較長的情節」，但對露西以及惡棍的戲份不足而有所批評。
Most of the skeleton is preserved, the bones still attached to each other in their original anatomical position.	大部分骨骼都保存下來，骨頭仍然以原始生理結構的位置相互連接。
The tail, hind feet, and hind portion of the pelvis had eroded away before the mummy was discovered.	尾部、後腿和骨盆後部在木乃伊被發現之前就風化了。
Fossils often become flattened during fossilization, but AMNH 5060 is preserved three-dimensionally, without significant deformation.	化石通常會在化石作用期間變得扁平，但是 AMNH 5060 以立體方式保存，而且沒有顯著的變形。
The specimen was found lying on its back, with head and neck twisted upwards, backwards, and to the right side of the body.	這個樣本被發現時為仰躺姿勢，頭部和頸部向上、向後扭轉，並朝向身體的右側。
Both knees are drawn forwards, while the forelimbs are outstretched.	雙膝都往前，前肢則是向外延伸。
Although the tail curves upwards and forwards over the body in many dinosaur skeletons, it was probably straight in the mummy as movement would have been restricted by ossified tendons.	雖然在許多恐龍的骨骼中，尾巴會在身體上方向上並向前彎曲，但可能因為鈣化的肌腱使動作受到限制，在這個木乃伊中變成直的。
Almost two-thirds of the total skin area is preserved, often with excellent preservation.	整體皮膚區域有將近三分之二保存了下來，這通常是因為使用了極佳的防腐方式。
The skin impressions are pressed tightly onto the bones, and are partially drawn into the body in between the bones.	皮膚印痕緊密地壓在骨頭上，而且有部分已陷入骨頭之間的體內。
When discovered, skin impressions probably encased the whole skeleton, but were partially destroyed while freeing it from the surrounding rocks.	發現時，皮膚印痕可能已經包住整副骨骼，但是將它與周邊岩石分離時毀損了一部分。
Skin impressions are preserved on the forelimbs, neck and throat, and the chest, as well as on the right side of the trunk.	前肢、頸部、喉部、胸口和軀幹右側上保存了皮膚印痕。
As well as the skin impressions, Sternberg noted the preservation of muscle impressions.	除了皮膚印痕以外，斯騰伯格也註記了肌肉痕跡的保存。
In 2007, paleontologist Kenneth Carpenter suggested that even impressions of inner organs are possibly preserved; this cannot be evaluated without detailed computer tomography and x-ray analyses.	2007 年，古生物學家肯尼斯·卡本特指出，甚至可能保存了內臟的痕跡；這在沒有詳細電腦斷層攝影和 X 光分析的情況下無法鑑定。
The skin was thin and delicate in relation to the size of the animal.	與動物的尺寸相比，皮膚較薄且脆弱。
As typical for dinosaurs, the skin consisted of non-overlapping scales called tubercles.	就像一般的恐龍一樣，皮膚是以稱為結節的重疊鱗片組成。
Two sorts of tubercles can be distinguished.	可區別出兩種結節。
Evenly distributed on the skin were the "ground tubercles", which were small, rounded scales between 1 and 3 mm (0.039 and 0.118 in) in diameter.	平均分佈在皮膚上的是「底部結節」，是小型、圓形的鱗片，直徑介於 1 到 3 公釐 (0.039 到 0.118 英吋) 之間。
The larger "pavement tubercles", less than 5 mm (0.20 in) in diameter, were pentagonal in shape, raised relative to the ground tubercles, and arranged in irregular clusters interrupting the surface formed by the lower ground tubercles.	較大的「鋪面結節」直徑小於 5 公釐 (0.20 英吋)，形狀為五邊形，與底部結節相比較為凸起，而且以不規則的團塊排列，插在下方底部結節形成的表面中。
These clusters consisted of between twenty and several hundred individual pavement tubercles, and were bordered by intermediate tubercles which mediated in size and shape between ground and pavement tubercles.	這些團塊由二十到數百個單獨的鋪面結節所組成，而且與大小和形狀介於底部和鋪面結節之間的中型結節接壤。
In the chest and abdominal region, clusters were small, oval in shape and arranged in irregular longitudinal lines.	胸部和腹部區域的團塊較小，形狀為橢圓形，且以不規則的縱向線條排列。
They became larger towards the sides of the trunk, where they reached 5 to 10 cm (2.0 to 3.9 in) in diameter; their shape became more irregular.	它們越靠近軀幹側邊就變得越大；在軀幹側邊，它們的直徑達到 5 到 10 公分 (2.0 到 3.9 英吋)；它們的形狀變得更不規則。
A cold front's location is at the leading edge of the temperature drop-off, which in an isotherm analysis shows up as the leading edge of the isotherm gradient, and it normally lies within a sharp surface trough.	冷鋒的位置在溫度下降的前緣，在等溫線分析中顯示為等溫梯度的前緣，而且通常位在尖銳面低壓槽的內部。
Cold fronts can move up to twice as fast as warm fronts and produce sharper changes in weather, since cold air is denser than warm air and rapidly lifts the warm air as the cold air moves in.	冷鋒移動速度最快可達暖鋒的兩倍，並產生較劇烈的天氣變化，因為冷空氣的密度比暖空氣高，而且冷空氣進入時會快速抬升暖空氣。
Cold fronts are typically accompanied by a narrow band of showers and thunderstorms.	冷鋒通常會伴隨狹窄的降雨帶和雷暴。
On a weather map, the surface position of the cold front is marked with the symbol of a blue line of triangles/spikes (pips) pointing in the direction of travel, at the leading edge of the cooler air mass.	在天氣圖上，冷鋒的表面位置是以指向行進方向的藍色線條三角形/尖狀物 (點) 符號標示，位於冷氣團前緣。
Warm fronts mark the position on the Earth's surface where a relatively warm body of air has displaced colder air.	暖鋒在地表上的位置是相對溫暖的空氣體取代較冷空氣的地方。
The temperature increase is located on the equatorward edge of the gradient in isotherms, and lies within broader low pressure troughs than is the case with cold fronts.	溫度上升位於等溫線梯度往赤道方向的邊緣，而且所在的低壓槽比冷鋒更寬廣。
Warm fronts move more slowly than do the cold fronts because cold air is denser, and harder to displace from the Earth's surface.	暖鋒移動速度比冷鋒慢，因為冷空氣密度較高，而且較難從地表去除。
This causes temperature differences across warm fronts to be broader in scale.	這樣會導致暖鋒中的溫差範圍更大。
The warm air mass overrides the cold air mass and temperature changes occur at higher altitudes before those at the surface.	暖氣團會取代冷氣團，而且在較高海拔地表的暖氣團之前會發生溫度變化。
Clouds ahead of the warm front are mostly stratiform and rainfall gradually increases as the front approaches.	暖鋒前方的雲大部分是層狀雲，而且降雨會隨著鋒面接近而逐漸增加。
Fog can also occur preceding a warm front passage.	暖鋒過境的前方也可能會出現霧。
Clearing and warming is usually rapid after the passage of a warm front.	暖鋒過境後通常很快會放晴且變溫暖。
If the warm air mass is unstable, mixing of the warm moist air will produce thunderstorms that are embedded among the stratiform clouds ahead of the front, and after frontal passage, thundershowers may continue.	如果暖氣團不穩定，混合暖濕空氣後會產生嵌入在鋒面前方層狀雲之間的雷暴，而且在冷鋒過境之後，雷雨可能會持續。
On weather maps, the surface location of a warm front is marked with a red line of half circles pointing in the direction of travel.	在天氣圖上，暖鋒的表面位置是以指向行進方向的紅色線條半圓形來標示。
An occluded front is formed during the process of cyclogenesis when a cold front overtakes a warm front.	冷鋒取代暖鋒時，在氣旋生成過程中會形成囚錮鋒。
The cold and warm fronts curve naturally poleward into the point of occlusion, which is also known as the triple point in meteorology.	冷鋒和暖鋒會自然地向兩極方向彎曲進入囚錮點，在氣象學上也稱為三相點。
It lies within a sharp trough, but the air mass behind the boundary can be either warm or cold.	它位於尖銳的低壓槽內，但是邊界後面的氣團可能是暖空氣，也可能是冷空氣。
In a cold occlusion, the air mass overtaking the warm front is cooler than the cool air ahead of the warm front, and plows under both air masses.	在冷囚錮中，取代暖鋒的氣團溫度會低於暖鋒前方的冷空氣，而且會從兩個氣團下方穿越。
In a warm occlusion, the air mass overtaking the warm front is not as cool as the cold air ahead of the warm front, and rides over the colder air mass while lifting the warm air.	在暖囚錮中，取代暖鋒的氣團溫度不會低於暖鋒前方的冷空氣，而且會從冷氣團上方行經，同時抬升暖空氣。
A wide variety of weather can be found along an occluded front, with thunderstorms possible, but usually their passage is associated with a drying of the air mass.	囚錮鋒沿途可能會發現多種天氣變化，而且可能有雷暴，但是其過境通常會連帶使氣團變乾燥。
Though silvertip sharks are quite mobile, they exhibit fidelity to certain areas, with reports of territorial behavior.	雖然白邊真鯊相當具機動性，牠們經常出現在特定區域，而且有地域行為的相關報導。
They are usually encountered alone or in pairs.	牠們通常被發現是單獨或成對。
Small groups of adult females have been seen in deep water.	深水區曾經發現小群的成年雌性。
Individual silvertip sharks behave very aggressively towards one another, and many are heavily scarred.	白邊真鯊個體會互相表現出非常具攻擊性的行為，而且許多都帶有嚴重的傷痕。
They are also reported to dominate Galapagos sharks (C. galapagensis) and blacktip sharks (C.	據報導，在爭奪食物時，牠們的地位也高於同樣大小的直翅真鯊 (C. galapagensis) 和黑邊鰭真鯊 (C.
limbatus) of equal size when competing for food.	limbatus)。
This shark sometimes forms mixed-species aggregations with grey reef sharks.	這種鯊魚有時候會與灰礁鯊組成混種群體。
Rainbow runners (Elagatis bipinnulata) have been observed rubbing against silvertip sharks, using the sharks' rough skin to scrape off parasites.	會跑的彩虹 (雙帶鰺) 曾被觀察到在白邊真鯊身上摩擦，利用鯊魚的粗糙表皮來刮除寄生蟲。
They sometimes follow marine mammals such as bottlenose dolphins (Tursiops sp.) in open water, and are themselves followed by pilot fish (Naucrates ductor).	牠們在開放海域有時會跟在海洋哺乳類後方，像是瓶鼻海豚 (寬吻海豚屬)，而本身則會被領航魚 (黑帶鰺) 跟隨。
Like the grey reef shark, the silvertip shark sometimes perform a stereotypical threat display if pursued by divers, warning that it is prepared to attack.	就像黑礁鯊一樣，如果白邊真鯊遭到潛水員追趕，有時候會做出典型的威脅表現，警告牠準備要攻擊了。
The display begins with the shark accelerating away to a distance of 15 m (49 ft), before turning and charging towards the perceived threat.	這種表現一開始是鯊魚加速游離至 15 公尺 (49 英呎) 距離處，然後轉向並衝向感知到的威脅。
At a distance of two body lengths, the shark brakes, turns broadside, drops its pectoral fins, gapes its jaws, lowers the posterior two-thirds of its body, and "shivers".	在兩個身長的距離處，鯊魚會煞車、轉向側面、降低胸鰭、張大嘴巴、將身體的後三分之二降低，然後「抖動」。
The last two elements of this display are unique to this species; the "shivering" may serve to emphasize its white fin markings.	這種表現的最後兩種元素是此種類專有的；「抖動」可能是為了強調牠的白色魚鰭斑紋。
If the diver persists, the shark may rapidly close in and slash with its upper teeth.	如果潛水員持續，鯊魚可能會快速接近並用上排牙齒揮擊。
The diet of the silvertip shark consists primarily of bony fishes, such as grouper, mackerel, tuna, escolars, lanternfish, flyingfish, wrasses, and soles.	白邊真鯊的食物主要包括硬骨魚，像是石斑魚、鯖魚、鮪魚、油魚、燈籠魚、飛魚、隆頭魚和比目魚。
Eagle rays, smaller sharks, and octopus are occasionally taken.	燕魟、小型鯊魚和章魚也偶爾會被捕捉。
Larger sharks tend to be more sluggish and take more benthic prey.	大型鯊魚較為遲鈍，而且會捕捉較深海的獵物。
The differently shaped dentition in their upper and lower jaws allows them to tackle large prey, gripping and sawing off chunks of flesh with violent twists and turns.	牠們的上下顎有不同形狀的齒列，使牠們能夠對付大型獵物，透過猛烈扭轉來咬住和撕下肉塊。
Silvertip sharks have been observed swimming around the periphery of groups of feeding sharks of other species, occasionally dashing in to steal food.	白邊真鯊曾被觀察到在其他種進食中的鯊魚群周邊游動，偶爾衝進去偷取食物。
This species often approaches ships, as they are attracted to certain artificial, low-frequency sounds.	此種類經常會接近船隻，因為牠們會受到特定人工低頻聲音所吸引。
From the 1990s onward an increasing amount of literature on Canadian comics has appeared, in both official languages.	1990 年代起開始出現越來越多有關加拿大漫畫的文學，且兩種官方語言都有。
Books such as Guardians of the North (1992) and Invaders from the North (2006) appeared by comics historian John Bell, who became senior archivist at Library and Archives Canada in Ottawa.	漫畫歷史學家約翰·貝爾出版的《北方守護者》(1992) 和《來自北方的侵略者》(2006) 等書籍，他之後成為渥太華的加拿大圖書和檔案系統的資深檔案保管員。
American magazine Alter Ego ran a special issue on Canadian comics in 2004.	美國雜誌《Alter Ego》在 2004 年刊登了有關加拿大漫畫的特刊。
Bart Beaty and Jeet Heer have been writing about comics academically and professionally, and regularly have articles educating the public on comics published in newspapers such as the National Post and the Boston Globe, as well as comics and literary magazines.	巴特·貝蒂和傑特·赫爾一直都在學術上及專業上撰寫與漫畫相關的內容，而且經常在報紙上發表向大眾介紹漫畫的文章，像是《國家郵報》和《波士頓環球報》，還有漫畫與文學雜誌。
Canadian feminist scholars such as Mary Louise Adams, Mona Gleason, and Janice Dickin McGinnis have done research into the anti-crime comics campaigns of the late 1940s and 1950s, from the point of view of the moral panic and social and legal history of the era, and the sociology of sexuality.	瑪莉·路易絲·亞當斯、莫娜·格里森和珍妮絲·狄金·麥金尼斯等加拿大女性主義學者，曾經從 1940 年代晚期和 1950 年代的道德恐慌和社會及法律歷史，以及性社會學的觀點，對該年代的反犯罪漫畫運動做過研究。
There are ten nursery schools, sixteen primary schools, and two secondary schools in Ashton-under-Lyne as of 2019.	截至 2019 年，Ashton-under-Lyne 有 10 幼稚園、16 所小學和 2 所中學。
In 2006, the council began a scheme to develop education in the borough by opening six new secondary schools.	在 2006 年，委員會開始一項計劃，目標是開設 6 所新中學來發展新區的教育。
Among the changes proposed as part of the £160 million scheme was the closure of Hartshead Sports College and Stamford Community High School, to be replaced by a 1,350-pupil academy with 300 sixth-form members.	在一項 1.6 億英鎊的計劃之一，提議的變化之一是關閉 Hartshead Sports 學院及 Stamford 社區高中，改為設立可招收 1,350 名學生的學院，其中包含 300 名預科學生。
In 2007, Hartshead Sports College was placed on "special measures" after it failed to achieve its targets for General Certificate of Secondary Education results and was criticised by Ofsted for its teaching standard.	2007 年，Hartshead 體育學院因未達成中等教育普通證書目標而對這所學校採取「特別措施」，並且其教學標準遭受教育標準局 (Ofsted) 批評。
The new academy opened in September 2008, a year ahead of schedule.	新學院於 2008 年 9 月開始招生，比原計劃提前一年。
It was named New Charter Academy (now Great Academy Ashton) after its sponsor, the New Charter Housing Trust.	在獲得 New Charter Housing Trust 贊助商資助後，該學院命名為 New Charter Academy (現稱為 Great Academy Ashton)。
The other secondary school in the town is St Damian's RC Science College, which was founded in 1963, and provides education for 800 pupils aged 11–16.	該鎮有另一所中學是 St Damian's RC Science College，成立於 1963 年並可招收 800 名 11–16 歲的學生。
As part of the Building Schools for the Future project, a replacement school building was built by Carillion and opened in May 2011.	作為在興建未來學校 (Building Schools for the Future) 專案中的一項計劃，Carillion 建造了一座替代校舍並於 2011 年 5 月開放。
Dale Grove School has 60 pupils and offers education for pupils aged 5–16 with special needs.	Dale Grove 學校有 60 名學生，為 5–16 歲有特殊需求的學生提供教育。
Ashton Sixth Form College is a centre for further education with 1,650 pupils aged 16–18.	Ashton 預科學院是一所延續教育學院，有 1,650 名 16–18 歲學生。
Tameside College also provides opportunities for further education and operates in Ashton-under-Lyne, Droylsden, and Hyde.	Tameside 學院也提供延續教育機會，並在 Ashton-under-Lyne、Droylsden 及 Hyde 營運。
Founded in 1954 and expanded in 1957 and 1964, it was originally called Ashton College.	該所學院成立於 1954 年並於 1957 及 1964 年擴建，原先的校名為 Ashton College。
In the early 19th century, Ashton-under-Lyne's growth made it necessary to find a new water supply.	在 19 世紀初，Ashton-under-Lyne 因持續發展而要尋找新的供水系統。
Before the introduction of piped water the town's inhabitants drew water from wells and the nearby River Tame.	在採用自來水之前，該鎮的居民的水源來自水井及附近的 River Tame 河。
Industrial processes had, however, polluted the river and the wells could not sustain a rapidly expanding population.	然而，工業製程使河流遭到污染，而且水井不足以供給迅速成長的人口。
From 1825, a private company was responsible for piping water from reservoirs, but there were still many homes without proper drainage or water supply.	從 1825 年開始，一家民營公司負責利用水庫管道供水，但是仍然有許多家庭沒有適當的排水或供水。
Waste management is now co-ordinated by the local authority via the Greater Manchester Waste Disposal Authority.	廢水處理現在由當地主管機關 Greater Manchester Waste Disposal Authority 負責協調。
The first power station in Tameside was built in 1899, providing power for the area.	Tameside 的第一座發電站建立於 1899 年，為該地區提供電力。
Ashton's Distribution Network Operator for electricity is United Utilities; there are no power stations in the town.	Ashton 的配電網運營商是 United Utilities (聯合公用事業集團)；而該鎮沒有發電站。
United Utilities also manages the drinking and waste water.	United Utilities 也負責管理飲水及廢水。
In 1999, the Minneapolis Library Board issued a report entitled Outlook Twenty Ten identifying the changing needs of each of the system's libraries.	1999 年，Minneapolis 圖書館理事會發佈一份題為 Outlook Twenty (2000 年展望) 的報告，確定該系統的每間圖書館持續變化的需求。
Deeming Nokomis crowded and outdated, the report proposed three options.	該報告認為 Nokomis 擁擠且過時，因此提出三種選項。
Option A proposed combining Nokomis with the nearby Roosevelt Community Library in a 25,000-square-foot (2,323 m²) space and closing both Nokomis and Roosevelt.	選項 A 提議將 Nokomis 與附近的 Roosevelt 社區圖書館合併在 25,000 平方英呎 (2,323 m²) 的空間中，並且關閉 Nokomis 及 Roosevelt。
This would have allowed the library to operate out of a state-of-the-art building at an undecided location.	這將允許圖書館設立在未決定地點的最先進建築物處營運。
Option B recommended moving Nokomis to a different site without moving Roosevelt.	選項 B 建議將 Nokomis 搬遷到另一地點，但不需要搬遷 Roosevelt。
The new library there would have been 18,000 square feet (1,672 m²).	新建於該處的圖書館有 18,000 平方英呎 (1,672 m²)。
Option C included capital improvements to Nokomis, such as replacing carpeting, signs, and the roof.	選項 C 包括改善 Nokomis 的基礎建設，例如更換地毯、標誌和屋頂。
A 2003 update to the report identified a project start date of 2007, with full closure in 2008 and a reopening in 2009.	該報告於 2003 更新，確定專案開始日期為 2007 年，於 2008 年完全結案並於 2009 年重新開放。
In 2007, the Minneapolis City Council appropriated a portion of its $1.35 billion 2008 budget for improvements to Nokomis and Northeast Community Library. $5.2 million of the $7 million project came from the city; Hennepin County put forward $1.8 million for environmental additions to the library and other features.	2007 年，明尼亞波利斯 (Minneapolis) 市議會撥款的 13.5 億美元 2008 年預算中，有一部分用於改善 Nokomis 及 Northeast 社區圖書館。700 萬美元中的 520 萬美元來自該城市；Hennepin 郡撥出 180 萬美元用於增加圖書館的環境設施及其他佈置。
The new building was designed by KKE Architects with significant input from a citizen advisory committee.	全新的建築物由 KKE 建築師事務所設計，並且得到公民諮詢委員會的全力投入。.
Ebert, Inc. was hired as the general contractor.	Ebert, Inc. 公司獲聘為總承包商。
The old building's last day of operation was September 12, 2009, at which time it was reported in the Longfellow/Nokomis Messenger that the renovated library was expected to reopen sometime in the fall of the next year.	舊建築物的最後營運日是 2009 年 9 月 12 日，並且會在該日期於 Longfellow/Nokomis Messenger 上報導，翻新後的圖書館預計將在明年秋天重新開放。
During the construction, patrons were encouraged to make use of nearby libraries including East Lake, Roosevelt, Washburn, and Southdale.	施工期間，鼓勵讀者使用附近的圖書館，包括 East Lake、Roosevelt、Washburn 及 Southdale。
The renovation included expanding the size of the library about 4,300 square feet (399 m²) to a total size of 17,340 square feet (1,611 m²).	翻新工程包括將圖書館面積擴大約 4,300 平方英呎 (399 m²)，總面積為 17,340 平方英呎 (1,611 m²)。
A new lighting system that automatically adjusts based on the levels of light within the building was installed, along with a geothermal heating apparatus.	安裝的全新照明系統可根據建築物內的光量自動調整，並且已安裝地熱供暖設備。
Other environmentally friendly interior features included carpeting constructed from recycled fibers and low-flow faucets.	其他環保的內飾佈置包括再生纖維製成的地毯和低流量水龍頭。
A stormwater management system and native planting were utilized on the building's exterior.	建築物外部使用了雨水管理系統及原生植物。
The library once again incorporated materials from Mankato Kasota Stone, making the difference between the old and new exterior surfaces virtually indistinguishable.	圖書館再次採用來自 Mankato Kasota Stone 的材料，使新舊外觀之間的差異幾乎無法區別。
The teen section was significantly expanded and a new ground-floor meeting room was built.	已大幅擴大青少年區，並且在一樓建造新的會議室。
The children's section was also subject to improvements, gaining new nature-inspired design elements including bird light fixtures.	兒童區也有改善，並且設計靈魂採用自然元素，包括鳥形燈具。
Orthogenesis, also known as orthogenetic evolution, progressive evolution, evolutionary progress, or progressionism, is the biological hypothesis that organisms have an innate tendency to evolve in a definite direction towards some goal (teleology) due to some internal mechanism or "driving force".	定向進化 (也稱為漸進進化、演進進步或進步主義) 是生物學假設，生物體會，會由於一些內部機制或「驅動力」，而具有朝某目標 (目的論) 的明確方向進化的先天傾向。
According to the theory, the largest-scale trends in evolution have an absolute goal such as increasing biological complexity.	根據理論，最大規範的進化趨勢具有絕對目標，例如增加生物複雜性。
Prominent historical figures who have championed some form of evolutionary progress include Jean-Baptiste Lamarck, Pierre Teilhard de Chardin, and Henri Bergson.	支持某種形式進化進步的著名歷史人物包括 Jean-Baptiste Lamarck、Pierre Teilhard de Chardin 和 Henri Bergson。
The term orthogenesis was introduced by Wilhelm Haacke in 1893 and popularized by Theodor Eimer five years later.	「定向進化」 一詞由 Wilhelm Haacke 於 1893 年提出，五年後由 Theodor Eimer 推廣。
Proponents of orthogenesis had rejected the theory of natural selection as the organizing mechanism in evolution for a rectilinear model of directed evolution.	「定向進化」的支持者否決天擇論，認為這是定向進化直線模型的進化組織機制。
With the emergence of the modern synthesis, in which genetics was integrated with evolution, orthogenesis and other alternatives to Darwinism were largely abandoned by biologists, but the notion that evolution represents progress is still widely shared.	隨著結合遺傳學與進化論的現代演化綜論出現，生物學家很大程度上已捨棄定向進化和其他達爾文主義的替代理論，但是進化論代表進步的觀點仍然受到廣泛分享。
The evolutionary biologist Ernst Mayr made the term effectively taboo in the journal Nature in 1948, by stating that it implied "some supernatural force".	進化論生物學家 Ernst Mayr 在 1948 年的 Nature 雜誌上將此詞有力地定為禁忌，指出此詞暗示「某種超自然力量」。
The American paleontologist George Gaylord Simpson (1953) attacked orthogenesis, linking it with vitalism by describing it as "the mysterious inner force".	美國古生物學家 George Gaylord Simpson (1953) 抨擊定向進化，將此詞描述為「神秘的內在力量」，並且與生機論相提並論。
Modern supporters include E. O.	現代支持者包括 E. O.、
Wilson and Simon Conway Morris, while museum displays and textbook illustrations continue to give the impression of progress in evolution.	Wilson 和 Simon Conway Morris，而博物館的展示和教科書插圖繼續散播進化進步的印象。
The philosopher of biology Michael Ruse notes that in popular culture evolution and progress are synonyms, while the unintentionally misleading image of the March of Progress, from apes to modern humans, has been widely imitated.	生物學哲學家 Michael Ruse 指出，在流行文化中，進化和進步是同義詞，而從猿類到現代人類的「人類進化圖」(March of Progress) 的無意誤導形象被廣泛模仿。
The term orthogenesis (from Ancient Greek ὀρθός orthós, "straight", and γένεσις génesis, "origin") was first used by the biologist Wilhelm Haacke in 1893.	生物學家 Wilhelm Haacke 於 1893 年首先使用定向進化 (orthogenesis   取自古希臘語 ὀρθός orthós「 straight」及 γένεσις génesis「origin」) 一詞。
Theodor Eimer was the first to give the word a definition; he defined orthogenesis as "the general law according to which evolutionary development takes place in a noticeable direction, above all in specialized groups".	Theodor Eimer 是第一位定義此詞的人；他將定向進化定義為「進化發展往明顯方向發生的通則，尤其在特殊族群」。
In 1922, the zoologist Michael F. Guyer wrote:	1922 年，動物學家 Michael F. Guyer 寫道：
[Orthogenesis] has meant many different things to many different people, ranging from a mystical inner perfecting principle, to merely a general trend in development due to the natural constitutional restrictions of the germinal materials, or to the physical limitations imposed by a narrow environment.	[定向進化] 對許多不同人的意義不同，從神秘的內在至善原則，到僅僅是由於肧芽材料的天生型態限制的總體發展趨勢，或由於狹窄環境所造成的物理限制。
In most modern statements of the theory, the idea of continuous and progressive change in one or more characters, due according to some to internal factors, according to others to external causes-evolution in a "straight line" seems to be the central idea.	在大多數現代理論的陳述中，由於根據內部因素、根據其他外部進化緣由，使一或多種特徵「直線」演化而持續及漸進變化的想法似乎成為中心思想。
According to Susan R. Schrepfer in 1983:	根據 Susan R. Schrepfer 於 1983 年的說法：
Orthogenesis meant literally "straight origins", or "straight line evolution".	定向進化字面上的意義是「直線起源」 或「直線進化」。
The term varied in meaning from the overtly vitalistic and theological to the mechanical.	此詞的含意涵蓋公然地生機論和神學到機械化。
It ranged from theories of mystical forces to mere descriptions of a general trend in development due to natural limitations of either the germinal material or the environment ...	範圍從神秘力量理論到僅僅描述由於胚芽材料或環境的天然限制的總體發展趨勢 ...
Few details are known about Smart's time at St Luke's Hospital for Lunatics.	關於 Smart 在聖盧克瘋子醫院 (St Luke's Hospital for Lunatics) 的時間，人們知之甚少。
He was admitted to St Luke's on 6 May 1757 as a "Curable Patient".	於1757 年 ５ 月 ６ 日，他被視為「可治癒的病人」送進聖路加醫院 (St Luke)。
It is possible that Smart was confined at Newbery's behest over old debts and a poor relationship that existed between the two; Newbery had previously mocked Smart's immorality in A Collection of Pretty Poems for the Amusement of Children six Foot High.	Newbery 有可能因舊債及而且兩者之間的不良關係，而將 Smart 束之高閣；Newbery 曾在 A Collection of Pretty Poems for the Amusement of Children six Foot High 中嘲笑 Smart 的不道德行為。
Regardless of Newbery's exact reasons, there is evidence suggesting that Newbery's admittance of Smart into the mental asylum was not based on madness.	無論 Newbery 的確切動機會何，有證據表明，Newbery 接納 Smart 進入精神病院不是因為發瘋。
To have Smart admitted, Newbery probably provided a small bribe, although bribes were against St Luke's policy.	Newbery 可能有支付一小筆賄賂要求收容 Smart，即使賄賂行為違背聖路加醫院 (St Luke) 的政策。
There is little information about Smart's condition during his stay at St Luke's, possibly because Battie's denied his patients from being visited, including by their own family members.	幾乎沒有關於 Smart 在聖路加醫院 (St Luke) 住院期間的病情方面的資訊，原因可能是 Battie 拒絕任何人探視他的病人，即使家人也不允許探視。
One of the few records that survive of Smart's time at St Luke's was an entry in St Luke's Minute Book, which read:	Smart 在聖路加醫院 (St Luke) 生活期間的很少數記錄之一是在聖路加醫院 (St Luke) 的議事錄中的一筆項目，內容中寫道：
12 May 1758	1758 年 5 月 12 日
Dr. Battie having acquainted this Committee that Christopher Smart (who was admitted on the 6th day of May 1757) continues disordered in his Senses notwithstanding he has been admitted into this Hospital above 12 Calendar Months and from the present Circumstances of his Case there is not Suffit.	Battie 向委員會通報，Christopher Smart (於 1757 年 5 月 6 日入院) 入院雖然已超過 12 個日曆月，但是感官上仍然精神錯亂，而且從目前的狀況觀察，沒有足夠的
reason to expect his speedy Recovery And he being brought up and examined.	理由可預期他迅速康復，並且正接受治療與檢查。
Ordered.	命令。
That he be discharged and that Notice be sent to his Securities to take him away.	他出院，並且通知寄他的擔保人帶他離開。
During Smart's confinement at St Luke's, not even other doctors were allowed to see Smart unless they had received personal permission from Battie.	Smart 拘禁在聖路加醫院 (St Luke) 期間，其他醫師也須獲得 Battie 的個人許可，否則不准為 Smart 看診。
It was improbable that Smart could have left the asylum without being released by Battie.	未獲 Battie 釋放的情況下，Smart 毫無可能離開精神病院。
Even if Smart would have attempted to obtain release via legal means, the rules for subpoenaing release would have been almost impossible to follow based on the system that Battie had in place, which isolated the individual from all contact.	即使 Smart 曾嘗試採取合法途徑獲得釋放，然而依據 Battie 制定的體制，個人須與所有聯絡人隔離，因此幾乎不可能遵循傳喚釋放規則。
Eventually, Smart was deemed "incurable" and would not have been released by the hospital but for its lack of funds.	最後，Smart 視為「無法治癒」，若非資金不足，否則無法出院。
There is little information about how and why Smart was released from asylum, but his daughter claimed: "He grew better, and some misjudging friends who misconstrued Mr Newbery's great kindness in placing him under necessary & salutary restriction which might possibly have eventually wrought a cure, invited him to dinner and he returned to his confinement no more." What is known about the actual events is that John Sherratt, Christopher Smart's friend, believed that Smart's confinement was unfair and wanted to negotiate Smart's release.	關於 Smart 如何從精神病院出院及其原因的資訊很少，但他的女兒聲稱：「他的狀況好轉，但有些朋友的判斷有誤，而將這件事誤解為 Newbery 先生非常仁慈，在必要的情況下將 Smart 安置在精神病院且最終有可能治癒，而且邀請他共進晚餐，而不再被拘禁。」然而，已知的實際情況是，Christopher Smart 的朋友 John Sherratt 相信，Smart 被拘禁並不公平，且希望協商要求 Smart 出院。
In January 1763, he met with a parliamentary committee to discuss the issue of individuals falsely imprisoned and abuses that they would receive in asylums.	1763 年 1 月，他會見專責委員會，討論個人遭非法拘禁以及在精神病院受到虐待的問題。
In particular, Sherratt argued that many were admitted for habitual intoxication, which undermined Battie's and other asylum keeper's reputations.	尤其，Sherratt 提出，許多人因習慣性醉酒而入院，這損害了 Battie 和其他精神病院管理員的聲譽。
A finding by the parliamentary committee released 27 January 1763 bolstered Sherratt's chances to release Smart.	專責委員會於 1763 年 1 月 27 日公佈的調查結果增加 Sherratt 釋放 Smart 的機會。
Carl Michael Bellman is the central figure in Swedish song, known for his 1790 Fredman's Epistles and his 1791 Fredman's Songs.	Carl Michael Bellman 是瑞典歌曲的核心人物，以 1790 年的《Epistle 82 Fredman's Epistles》和 1791 年的《 Fredman's Songs》聞名。
He played the cittern, accompanying himself as he performed his songs at the royal court.	他在皇家宮廷表演時用隨身攜帶的西特琴演奏他的歌曲。
Jean Fredman is a fictional character and the supposed narrator in Bellman's epistles and songs, based on a real watchmaker of Bellman's Stockholm.	Jean Fredman 是根據 Bellman 的 Stockholm 真實鐘錶匠改編的虛構人物，也是 Bellman 貝爾曼的使徒書信和歌曲中的敘述者。
The epistles paint a picture of the demimonde life of the city during the eighteenth century, where strong drink and beautiful "nymphs" like Ulla Winblad create a rococo picture of life, blending classical allusion and pastoral description with harsh reality.	這些使徒書信描繪了十八世紀這座城市的半神生活，在那裡，烈性酒和像 Ulla Winblad 這樣的美麗「仙女」創造了一幅洛可可式的生活圖景，將古典典故和田園描述與殘酷的現實融為一體。
Epistle 82 has been recorded by Fred Åkerström, where it forms the title track of his third album of Bellman interpretations, as well as by Sven-Bertil Taube.	《Epistle 82》由 Fred Åkerström 錄製，並成為他的第三張專輯《Bellman interpretations》的主打歌，以及由 Sven-Bertil Taube 主唱。
It has been translated into English by Eva Toller.	這首歌已被 Eva Toller 翻譯成英文。
The song has featured in at least 16 Swedish films from 1929 onwards.	從 1929 年開始，這首歌至少在 16 部瑞典電影中出現過。
Lars Lönnroth, writing in Svenska Dagbladet, suggests that the "spring" in the Epistle was in fact not a stream in summer meadows but a fashionable spa, perhaps Djurgårsbrunn on what was in Bellman's time the edge of Stockholm.	Lars Lönnroth 在 Svenska Dagbladet 中寫道，書信中的「spring」實際上不是夏季草地上的一條小溪，而是時尚的溫泉，在 Bellman 時代，Djurgårsbrunn 也許在 Stockholm 的邊緣。
Henrik Mickos, in the 2011 Bellman lecture, discussed what the "pimpinella" of the first verse might be, concluding that salad burnet (Sanguisorba minor) was quite likely, given it was known at the time as pimpinella, and was more common in Sweden then than it is now.	Henrik Mickos 在2011年的 Bellman演講中，討論了第一節的「茴芹 (pimpinella)」可能是什麼，結論是很有可能是小地榆種子 (salad burnet) (小地榆種子 (Sanguisorba minor))，因為當時稱為茴芹 (pimpinella)，並且在當時的瑞典比現在更常見。
Mickos dismisses the possibility that it was aniseed (Pimpinella anisum), which was used to flavour brännvin but not as the song has it ("red wine and pimpinella") a wine-based punch.	Mickos 駁斥了它是大茴香 (aniseed) (Pimpinella anisum) 的可能性，它被用來調味 brännvin，但不是像這首歌（「紅酒和茴芹」）那樣以葡萄酒為基底的潘趣酒。
Writing for The Boston Globe, Michael Andor Brodeur argued that while the show may feel like an advertisement for emoji, "the most satisfying part is watching self-proclaimed enthusiasts of the form stumble through their symbols once the difficulty is ever-so-slightly notched up....watching so much get lost in translation feels like a win.	Michael Andor Brodeur 為《波士頓環球報》(The Boston Globe) 撰稿，他認為，雖然這個節目可能感覺像是表情符號的廣告，但「最令人滿意的部分是，一旦難度越來越高，就會看到自稱是這種形式的狂熱者步步艱辛地理解他們的符號......看著這麼多東西在翻譯中迷失，感覺就像是一場勝利。
In terms of ratings, the series' first two episodes debuted to 336,000 and 322,000 respective viewers, with a 0.10 and 0.09 18–49 rating respectively.	在收視率方面，該劇的前兩集分別以 336,000 名和 322,000 名的觀眾首次亮相，收視率分別為 0.10 和0.09 18-49。
The episode followed up on the plot introduced in the final instalment of the second season in which a probe from an unknown alien race attacks Earth.	這一集延續了第二季最後一集中引入的情節，其中來自未知外星種族的探測器襲擊了地球。
A number of new sets and costumes were required, with preparations beginning for some departments up to three weeks before filming began.	一些部門在拍攝開始前三週就開始準備所需的一些新的佈景和服裝。
One change which was made was a new outfit for T'Pol, with costume tests taking place a week before filming began.	其中一項改變是為 T'Pol 穿上新衣服，服裝測試在拍攝開始前一週進行。
The redesign was because of studio executives wanting the show to appeal more to the 18–49 male demographic.	重新設計是因為電影公司行政製片人希望該節目更能吸引 18-49 歲的男性受眾。
The production team looked to the mid-series boost that the introduction of Seven of Nine provided on Star Trek: Voyager and sought for Enterprise to appeal to that demographic in the same manner.	製片團隊著眼於《星際爭霸戰：重返地球》(Star Trek: Voyager) 中推出的《九之七》(Seven of Nine) 所提供的系列中期提升，並尋求《企業號》(Enterprise) 以同樣的方式吸引這群受眾。
Kate O'Hara of New York Magazine later joked in reference to the change, "Women of the future will certainly choose to wear tight, uncomfortable, skin-tight catsuits!"	《紐約雜誌》(New York Magazine) 的 Kate O'Hara 後來提到此變化時開玩笑說，「未來的女性一定會選擇穿緊密、不舒服、皮膚緊密的貓服！」
"The Xindi" was seen as a new pilot by executive producers Brannon Braga and Rick Berman, who also wrote the episode.	《The Xindi》被執行製片人 Brannon Braga 和 Rick Berman 視為新的領航員，他們也寫了這一集。
Braga said "We were re-establishing an Enterprise that was going to be a little bit different this year, so we had to think of it in those terms." They felt the best way to do this was to immediately reveal the Xindi to the audience, and to give the MACOs something to do in order to introduce them as well.	Braga 說：「我們正在重建《企業號》(Enterprise)，今年會有點不同，所以我們必須從這些角度來考慮」。他們認為最好的方法是立即向觀眾展示《The Xindi》，並讓 MACO 做一些事情進行介紹。
He called it a "big episode" as they sought to set up the rest of season.	這一集試圖設置本季的其餘部分，所以 Braga 稱這是「大插曲」
The shoot began on June 26, 2003, with the expectation that it would take nine days (as opposed to the usual seven) to complete.	於 2003 年 6 月 26 日開始拍攝，預計需要九天（而不是通常的七天）才能完成。
One of the special effects on the episode used ground Styrofoam which had been painted blue and processed through a wood chipper.	該集的特效之一使用研磨的聚苯乙烯發泡塑料，該發泡塑料被漆成藍色並使用木屑切割機加工而成，
It was used to represent the mineral Trellium-D within the mine.	被用來代表礦井內的礦物 Trellium-D。
However, the ground Styrofoam stuck to the actors' shoes and costumes and ended up being spread throughout the Paramount lot where the series was filmed.	然而，研磨的聚苯乙烯發泡塑料黏在演員的鞋子和服裝上，最終遍佈整個拍攝該劇集的派拉蒙片廠。
It would turn up in unexpected places on set for the rest of the series, and was found in among the sets as they were being dismantled after the end of season four.	在劇集的其餘部分，它將出現在片場意想不到的地方，並在第四季結束後被拆除時在佈景中被發現。
"The Xindi" featured several actors who would go on to recur in their roles throughout the third season of Enterprise.	《The Xindi》中出現了幾位演員，他們在整個《企業號》(Enterprise) 第三季中反覆出現。
These included the MACO marines under the command of Major Hayes, played by Steven Culp.	其中包括 Major Hayes 少校 (Steven Culp 飾演) 指揮的 MACO 海軍陸戰隊。
At the time of his appearance in "The Xindi", he felt that he did not have any characterisation to work with.	在《The Xindi》中出場時，他覺得自己沒有任何人物刻畫可言。
During the production of his second episode, "The Shipment", Culp read an article in the Los Angeles Times about a troubled youth who joined the military and in serving in the Iraq War had found himself.	在他的第二集《The Shipment》的製片過程中，Culp 在《洛杉磯時報》(Los Angeles Times) 上讀到一篇文章，講述了一個陷入困境的年輕人加入軍隊並在伊拉克戰爭中服役時發現自我。
After discussing it with the director, this became the basis for the character.	在與導演討論之後，這成為了角色的基礎。
Daniel Dae Kim made his first of three appearances in "The Xindi" as Corporal Chang; he had previously appeared as Gotana-Retz in the Voyager episode "Blink of an Eye".	Daniel Dae Kim 在《The Xindi》中首次出場，飾演張下士 (Corporal Chang)。他之前曾在《重返地球》(Voyager) 的《Blink of an Eye》一集中以 Gotana-Retz 的身份出現。
The band were afforded more time to record than previous endeavors, and were listening to music such as Jawbreaker, Bad Religion and Lagwagon, which influenced the album.	樂隊比以前努力有更多的時間來錄製，並且正在聽Jawbreaker、Bad Religion和Lagwagon等音樂，這些音樂影響了專輯。
For production duties, the band worked with Mark Trombino, who provided additional piano and keyboards on Dude Ranch.	對於製片職責，樂隊與 Mark Trombino 合作，後者在 Dude Ranch 提供了額外的鋼琴和鍵盤。
The trio picked him based on his work he had done on Jimmy Eat World's Static Prevails (1996). The group spent time trying to amuse Trombino, to no avail.	三人根據他在 Jimmy Eat World 的 Static Prevails (1996) 的表現而選擇他。這群人花時間試圖逗樂 Trombino，但無濟於事。
Hoppus' sister, Anne Hoppus, described Trombino as very quiet during the sessions.	Hoppus 的妹妹安妮·Anne Hoppus 形容 Trombino 在會議期間非常安靜。
Trombino, in a retrospective piece about the album, mentioned that he was "excited, but also nervous and intimidated.	Trombino 在一篇關於這張專輯的回顧文章中提到他「很興奮，但也很緊張和害怕。
I felt weird that there were these guys who had sold way more records than I had ever sold and I'm sitting in the producer’s chair telling them what to do." Dude Ranch was recorded Big Fish Studios in Rancho Santa Fe, California in December 1996.	我覺得很奇怪，有這些傢伙賣出的唱片比我賣的唱片多得多，我坐在製作人的椅子上告訴他們該怎麼做。」Dude Ranch 於 1996 年 12 月在加利福尼亞州 Rancho Santa Fe 錄製了《Big Fish Studios》。
Big Fish was a converted guesthouse which had just survived a wildfire months before.	Big Fish 是一家經過改建的民宿，幾個月前剛剛在野火中倖存下來。
However, the gloomy atmosphere did not faze Blink-182 at all, and what was a tragedy to local individuals became fodder for jokes for the group.	然而，陰鬱的氣氛絲毫沒有讓 Blink-182 感到沮喪，對當地人來說是一個悲劇，郤成為樂團笑話的素材。
Bassist Mark Hoppus had just bought a new video camera and he filmed stunts with guitarist Tom DeLonge on the burnt landscape in spare time.	貝斯手 Mark Hoppus 剛剛買了一台新的攝影機，他在業餘時間與吉他手 Tom DeLonge 一起在燃燒的風景中拍攝特技。
Despite this, Trombino was impressed by their work ethic: "They were the most business-centric band I'd ever seen at that point.	儘管如此，Trombino 還是對他們的職業道德印象深刻：「他們是我當時見過的最商業優先的樂隊。
They had their shit together."	他們一起吃了屎。」
Despite the creative boom while writing lyrics for the album, all three members of Blink-182 faced setbacks while recording Dude Ranch.	儘管在為專輯寫歌詞時創意源源不絕，但 Blink-182 的所有三名成員在錄製《Dude Ranch》時都遇到了挫折。
DeLonge was having vocal problems and spent much time recording and re-recording vocal tracks, and Hoppus realized he too was having difficulty singing after losing his voice during a one-off Christmas concert.	DeLonge 的聲音有問題，花了很多時間錄製和重新錄製聲樂曲目，Hoppus 意識到他在獨場聖誕音樂會上失聲後也很難唱歌。
Hoppus realized the magnitude of the situation and cancelled the final week of recording in December 1996.	Hoppus 意識到情況的嚴重性，並於 1996 年 12 月取消了最後一週的錄製。
He quit smoking in order to take care of his voice, which was stressed due to lack of vocal warm-ups, full days of vocal tracks, and the strain of singing for "Dammit", which was accidentally written just outside his vocal range.	他戒煙是為了照顧自己的嗓音，由於缺乏聲樂熱身，整天的聲樂曲目以及為「Dammit」唱歌的壓力而受到壓力，「Dammit」意外地寫在他的音域之外。
Meanwhile, Raynor had to record his drum tracks while still in his wheelchair, the result of injuries sustained at the signing party.	與此同時，Raynor 由於在簽名會上受傷而不得不在輪椅上錄製他的鼓聲。
He would wheelchair up to the drum set and scoot onto the drum throne and play," remembered Trombino in a later interview.	「他會坐到鼓臺上，然後躡手躡腳地坐在鼓座上玩，」Trombino 在後來的一次採訪中回憶道。
"I got the sense that [the band] were bummed." Aside from the recording, the band spent time playing Crash Bandicoot and "reading the articles from the shelves and shelves of Playboys that the studio had thoughtfully provided." The group ate lunch nearly each day at Sombrero, a local Mexican restaurant namedropped in "Josie", and Chinese for dinner from Encinitas' Pick Up Stix.	「我感覺到 [樂隊] 很沮喪」。除了錄音之外，樂隊還花時間演奏 Crash Bandicoot，並「閱讀工作室精心提供的書架上文章和花花公子」。這群人幾乎每天都在 Sombrero 吃午餐，Sombrero 是一家以「Josie」命名的墨西哥當地餐廳，還有 Encinitas 的 Pick Up Stix 的中式晚餐。
It would be January 1997 until the band would be able to wrap up sessions for Dude Ranch, eventually amounting to five weeks of recording.	直到 1997 年 1 月，樂隊才能夠完成 Dude Ranch 專輯，最終相當於五週的錄製。
For the final touches, Unwritten Law frontman Scott Russo donated a few vocal tracks to "Josie", and Trombino let Blink-182 record a couple of jokes between songs using a sound-effects machine he owned.	在收尾工作中，Unwrite Law 的主唱 Scott Russo 獻出幾首曲目給向「Josie」，Trombino 讓 Blink-182 使用他擁有的音效機在幾首歌曲之間錄製了笑話。
Plunketts Creek is in the West Branch Susquehanna River drainage basin, the earliest recorded inhabitants of which were the Susquehannocks.	Plunketts Creek 位於薩斯奎哈納河西支 (West Branch Susquehanna River) 河流域，其中薩斯奎漢諾克斯 (Susquehannocks) 族群是最早記錄的居民。
Their numbers were greatly reduced by disease and warfare with the Five Nations of the Iroquois, and by 1675 they had died out, moved away, or been assimilated into other tribes.	由於疾病和與易洛魁五國的戰爭，他們的數量大幅減少，到 1675 年，他們已經滅絕，搬走或被同化到其他部落。
The West Branch Susquehanna River valley was subsequently under the nominal control of the Iroquois, who invited displaced tribes, including the Lenape (Delaware) and Shawnee to live in the lands vacated by the Susquehannocks.	薩斯奎哈納河西支河谷隨後在易洛魁聯盟 (Iroquois) 的名義控制之下，易洛魁聯盟邀請流離失所的部落，包括莱纳佩族 (Lenape) (德拉瓦州) 和肖尼族 (Shawnee) 居住在薩斯奎漢諾克族騰出的土地上。
The French and Indian War (1754–1763) led to the migration of many Native Americans westward to the Ohio River basin.	法國和印第安人戰爭（1754 年至 1763 年）導致許多美洲原住民向西遷移到俄亥俄河流域。
On November 5, 1768, the British acquired the New Purchase from the Iroquois in the Treaty of Fort Stanwix, including what is now Plunketts Creek.	1768 年 11 月 5 日，英國在《斯坦威克斯堡條約》(Treaty of Fort Stanwix)中從易洛魁聯盟手中收購了新買點，包括現在的普朗克提溪 (Plunketts Creek)。
The first settlement along the creek by European colonists took place between 1770 and 1776.	歐洲殖民者沿著小溪的第一個定居點發生在 1770 年至 1776 年之間。
Plunketts Creek is named for Colonel William Plunkett, a physician, who was the first president judge of Northumberland County after it was formed in 1772.	普朗克提溪 (Plunketts Creek) 以醫生 William Plunkett 上校的名字命名，他是諾森伯蘭郡 (Northumberland County) 在 1772 年成立以來的第一任首席法官。
During conflicts with Native Americans, he treated wounded settlers and fought the natives.	在與美洲原住民的衝突中，他治療受傷的定居者並與當地人作戰。
Plunkett led a Pennsylvania expedition in the Pennamite-Yankee War to forcibly remove settlers from Connecticut, who had claimed and settled on lands in the Wyoming Valley also claimed by Pennsylvania.	Plunkett 在賓那邁與揚基之戰 (pennamite-yankee wars) 中領導賓夕法尼亞州探險隊，強行將定居者從康涅狄格州驅逐出去，這些定居者主張並定居在懷俄明河谷 (Wyoming Valley) 的土地上，賓夕法尼亞州也聲稱擁有主權。
For his services, Plunkett was granted six tracts of land that totaled 1,978 acres (800 ha) on November 14, 1776, although the land was not actually surveyed until September 1783.	由於他的服務，Plunkett 在 1776 年 11 月 14 日獲得了六塊土地，總面積為 1,978 英畝（800 公頃），儘管直到 1783 年 9 月才實際勘測了這片土地。
Plunkett's land included the creek's mouth, so Plunketts Creek was given his name.	Plunkett 的土地包括小溪的河口，所以普朗克提溪 (Plunketts Creek) 以他的名字命名。
He died in 1791, aged about 100, and was buried in Northumberland without a grave marker or monument (except for the creek that bears his name).	他於 1791 年去世，享年約 100 歲，被埋葬在諾森伯蘭郡 (Northumberland)，沒有墓碑或紀念碑（以他的名字命名的小溪除外）。
Lycoming County was formed from Northumberland County in 1795.	萊康明縣 (Lycoming) 於1795年從諾森伯蘭郡成立。
When Plunketts Creek Township was formed in Lycoming County in 1838, the original name proposed was "Plunkett Township", but Plunkett's lack of active support for the American Revolution some years earlier had led some to believe his loyalty lay with the British Empire.	當 Plunketts Creek Township 於 1838 年在萊康明縣成立時，最初提議的名稱是「Plunkett Township」，但 Plunkett 幾年前未積極支持美國革命，導致一些人認為他的忠誠在於大英帝國。
The lingering suspicion of his loyalist sympathies led to the proposed name being rejected.	對他的忠誠同情揮之不去的懷疑導致提議的名字被拒絕。
Naming the township for the creek rather than its namesake was seen as an acceptable compromise.	用其同名命名小溪 (而不是該鎮) 視為可接受的折衷方案。
In 1832, John Barbour built a sawmill on Loyalsock Creek near the mouth of Plunketts Creek.	1832 年，約翰·巴伯 (John Barbour) 在 Plunketts Creek 河口附近的Loyalsock Creek上建造了一家鋸木廠。
This developed into the village of Barbours Mills, today known as Barbours.	這發展成為 Barbours Mills 村，現今稱為 Barbours。
In the 19th century, Barbours had several blacksmiths, a temperance hotel, post office, many sawmills, a school, store and wagon maker.	在 19 世紀，Barbours 有幾家鐵匠鋪、一家不賣酒的旅館、郵局、許多鋸木廠、一所學校、商店和馬車製造商。
In 1840, a road was built north from Barbours along Plunketts Creek, crossing it several times.	1840 年，從 Barbours 沿著 Plunketts Creek 向北修建了一條道路，多次穿過。
Rubidium was discovered in 1861 by Robert Bunsen and Gustav Kirchhoff, in Heidelberg, Germany, in the mineral lepidolite through flame spectroscopy.	1861 年，年由 Robert Bunsen 和 Gustav Kirchhoff 在德國海德堡利用火焰光譜法在礦物鋰雲母中發現銣。
Because of the bright red lines in its emission spectrum, they chose a name derived from the Latin word rubidus, meaning "deep red".	由於銣發射光譜中有鮮豔的紅色線條，因為選擇了源自拉丁語 rubidus 的名字，意思是「深紅色」。
Rubidium is a minor component in lepidolite.	銣是鋰雲母中的次要成分。
Kirchhoff and Bunsen processed 150 kg of a lepidolite containing only 0.24% rubidium oxide (Rb₂O).	Kirchhoff 和 Bunsen 加工了 150 千克僅含有 0.24% 氧化銣 (Rb₂O) 的鋰雲母。 
Both potassium and rubidium form insoluble salts with chloroplatinic acid, but those salts show a slight difference in solubility in hot water.	鉀和銣都與氯鉑酸 (chloroplatinic acid) 形成不溶性鹽，但這些鹽在熱水中的溶解度略有不同。
Therefore, the less soluble rubidium hexachloroplatinate (Rb₂PtCl₆) could be obtained by fractional crystallization.	因此，藉由分級結晶可以獲得可溶性較低的六氯鉑酸銣 (Rb₂PtCl₆)。
After reduction of the hexachloroplatinate with hydrogen, the process yielded 0.51 grams of rubidium chloride for further studies.	用氫氣還原六氯鉑酸鹽的過程產生 0.51 克氯化銣，用於進一步研究。
Bunsen and Kirchhoff began their first large-scale isolation of caesium and rubidium compounds with 44,000 litres (12,000 US gal) of mineral water, which yielded 7.3 grams of caesium chloride and 9.2 grams of rubidium chloride.	Bunsen 和 Kirchhoff 開始用 44,000 升（12,000 美制加侖）礦泉水首次大規模分離銫和銨化合物，產生 7.3 克氯化銫和 9.2 克氯化銨。
Rubidium was the second element, shortly after caesium, to be discovered by spectroscopy, just one year after the invention of the spectroscope by Bunsen and Kirchhoff.	繼銫之後不久，就在 Bunsen 和 Kirchhoff 發明光譜儀一年後，銣是採用光譜學發現的第二種元素。
The two scientists used the rubidium chloride to estimate that the atomic weight of the new element was 85.36 (the currently accepted value is 85.47).	兩位科學家使用氯化銣來估計新元素的原子量為 85.36（目前公認的值為 85.47）。
They tried to generate elemental rubidium by electrolysis of molten rubidium chloride, but instead of a metal, they obtained a blue homogeneous substance, which "neither under the naked eye nor under the microscope showed the slightest trace of metallic substance".	他們試圖利用電解熔融的氯化銣來產生元素銣，但他們獲得的不是金屬，而是藍色均勻的物質，「在肉眼下和顯微鏡下都沒有顯示出絲毫的微量金屬物質」。
They presumed that it was a subchloride (Rb	他們推測這是一種次氯化物 (Rb
₂Cl); however, the product was probably a colloidal mixture of the metal and rubidium chloride.	₂Cl)；然而，該產物可能是金屬和氯化銣的膠體混合物。
In a second attempt to produce metallic rubidium, Bunsen was able to reduce rubidium by heating charred rubidium tartrate.	在第二次嘗試產生金屬銣時，Bunsen 能夠藉由加熱燒焦的酒石酸銣來減少銣。
Although the distilled rubidium was pyrophoric, they were able to determine the density and the melting point.	雖然蒸餾出的銣是發火性，但他們能夠確定密度和熔點。
The quality of this research in the 1860s can be appraised by the fact that their determined density differs by less than 0.1 g/cm³ and the melting point by less than 1 °C from the presently accepted values.	19 世紀 60 年代，這項研究的品質可以通過以下事實來評估：經判定的密度與目前接受的值相差小於 0.1 g/cm³，熔點相差不到 1°C。
The slight radioactivity of rubidium was discovered in 1908, but that was before the theory of isotopes was established in 1910, and the low level of activity (half-life greater than 10¹⁰ years) made interpretation complicated.	在 1908 年發現銣有輕微放射性，但這是在 1910 年同位素理論建立之前所發現，低程度的活性（半衰期大於 10¹⁰ 年）使解釋變得複雜。
The now proven decay of ⁸⁷Rb to stable ⁸⁷Sr through beta decay was still under discussion in the late 1940s.	20 世紀 40 年代末所討論，⁸⁷Rb透過 beta 衰變而衰變到穩定的 ⁸⁷Sr，現在已得到證實。
Rubidium had minimal industrial value before the 1920s.	銣在 1920 年代之前具有最低限度的工業價值。
Since then, the most important use of rubidium is research and development, primarily in chemical and electronic applications.	從那時起，銣最重要的用途是研究和開發，主要用於化學和電子應用。
The history of the tea processing corresponds intimately with the role that tea played in Chinese society and the preferred methods of its consumption in ancient Chinese society.	茶葉加工的歷史與中國古代社會茶葉所扮演的角色及其首選的消費方式密切相關。
Variations of these processing techniques are still used in modern tea processing albeit being far more mechanized.	這些加工技術的變體仍然用於現代茶葉加工，儘管機械化程度要高得多。
The ancient Chinese society first encountered the tea plant in what is now southern China and processed it as another medicinal herb for use in Chinese herbology.	中國古代社會首先在現在的中國南方遇到茶樹，並將其加工成另一種藥草，用於中草藥學。
The processing technique used to process fresh tea leaves was to immediately steam the fresh tea leaves and dry them for preservation, which is likely the most ancient Chinese form of tea leaf processing.	用於加工新鮮茶葉的加工技術是立即蒸新鮮茶葉並乾燥保存，這可能是中國最古老的茶葉加工形式。
This processing method was perfected near the end of the Han Dynasty (206 BCE-220 CE) and produced a dried tea that would be classified today as "green tea" and quite similar to modern Japanese sencha.	這種加工方法在漢朝末期（西元前 206 年至西元 220 年）已臻至完美，並生產出一種乾茶，今天被歸類為「綠茶」，與現代日本煎茶非常相似。
For consumption, dried tea leaves were either decocted with water around with other herbs, or ground into a powder to be taken straight, or in a liquid in the manner of matcha.	食用時，乾茶葉可用水與其他草藥一起調製，也可以直取研磨成粉末，或以抹茶的方式在液體中。
With the increase of tea's use in Chinese herbology, production methods changed, where the processed green tea leaves were not immediately dried after steaming.	隨著中國草藥學中葉愈來愈廣泛使用茶，生產方法發生了變化，其中加工過的綠茶葉在蒸煮後立即乾燥。
Rather the steamed tea leaves were first pulverized into a paste form, with the paste then formed in moulds and slowly dried into brick tea, a technique well described by Lu Yu in his work The Classic of Tea.	相反，蒸熟的茶葉首先被粉碎成糊狀，然後糊狀物在模具中形成並慢慢乾燥成磚茶，這是陸羽在他的作品「茶經」中詳細描述的技術。
Tender leaves and leaf buds were generally not used, as older mature tea leaves were preferred for tea production.	通常不使用嫩葉和葉芽，因為較老的成熟茶葉是茶葉生產的首選。
Some tea bricks were also produced from mature whole leaves, which typically required the use of a cooked rice slurry (米湯) to bind the tea brick together.	一些茶磚也是由成熟的整片葉子製成的，這通常需要使用煮熟的米漿（米湯）將茶磚黏合在一起。
The preference of producing tea in brick form possibly stems from the fact that it can be more easily transported and stored.	生產磚砌茶葉的偏好可能源於可以更容易地運輸和儲存的事實。
The use of steam in fixation (殺青) of tea leaf enzymes is an important step in processing tea, with the leaves quickly cooled down and then undergoing further processing.	使用蒸青（殺青）茶葉酶是加工茶葉的重要步驟，過程中葉子迅速冷卻，然後進行進一步加工。
The less tightly controlled methods of it in the past resulted in the creation of "yellow tea" when the tea leaves were over-steamed for fixation or were not quickly spread out, doused with water and cooled.	當茶葉被過度蒸青或未迅速攤開，用水澆滅並冷卻時，過去不太嚴格控制的方法導致產生「黃茶」。
Although green tea was the most popular in Lu Yu's time, he personally considered yellow tea to be superior to green.	雖然陸羽時代綠茶最受歡迎，但他個人認為黃茶優於綠茶。
Even when the leaves were quickly cooled, if they are left in piles (渥堆) for too long before processing, the leaves will begin to undergo microbial fermentation to produce "post-fermented tea".	即使葉子快速冷卻，如果在加工前葉子疊成堆（渥堆）太久，葉子也會開始經歷微生物發酵而產生「發酵後茶」。
This technique is somewhat similar to composting, albeit tightly controlled, and still used in the production of Liu'an tea (安徽六安籃茶) and was more recently introduced for the production of the "ripe" type pu-erh tea.	這種技術有點類似於堆肥，儘管受到嚴格控制，並且仍然用於生產安徽六安茶（安徽六安籃茶），並且最近被引入用於生產「成熟」型普洱茶。
The production of tea in brick forms and their storage also resulted in another type of post-fermented tea, which was produced by aging.	磚狀茶葉的生產和儲存也導致採用陳放所產生的另一種類型黑茶 (post-fermented tea)。
The long transport and storage times of the day unwittingly allowed the tea bricks to undergo prolonged exposure to the elements and to various microflora, which resulted in the aging, oxidation, and fermentation of green brick teas.	一天中漫長的運輸和儲存時間無意中使茶磚長時間暴露於元素和各種微生物群落中，導致綠磚茶的老化、氧化和發酵。
A brick of green tea that had been stored and aged into post-fermented tea was charred over charcoal to rid it of the layer of detritus, dust, and shiny multicoloured growths before being broken down into a powder, cooked, and then consumed.	已經儲存並陳放成發酵後茶的綠茶磚在木炭上燒焦，以清除碎屑、灰塵和閃亮的多色生長物，然後被分解成粉末、煮熟，然後食用。
By the end of Tang Dynasty (618-907CE) green, yellow, and post-fermented tea was commonly used in China and moved from purely being used in herbology to becoming a beverage drunk for pleasure.	到唐朝末期（西元 618-907 年），綠茶、黃茶和黑茶在中國被普遍使用，並從純粹草藥用途轉變為飲料。
New Directions' director Will Schuester (Matthew Morrison) suspects that cheerleading coach Sue Sylvester (Jane Lynch) has been colluding with rival glee clubs, and visits the Jane Addams Academy for girls recently released from juvenile detention.	《New Directions》的總監 Will Schuester (Matthew Morrison 飾) 懷疑啦啦隊教練 Sue Sylvester (Jane Lynch 飾) 一直在與競爭對手的歡樂俱樂部勾結，並造訪 Jane Addams Academy 學院，為最近從少年拘留所釋放的女孩提供服務。
When their club director Grace Hitchens (Eve) reveals the extent of the school's under-funding, Will invites her club to perform in the McKinley High auditorium.	當他們的俱樂部總監 Grace Hitchens (Eve 飾) 透露學校資金不足的程度時，Will 邀請她的俱樂部在 McKinley 高中禮堂表演。
Will is intimidated by their opposition, but Rachel (Lea Michele) assures him that the girls are using the power of "hairography"—frequent, dramatic hair-tossing—to distract from the fact their singing and dancing ability is limited. Will purchases wigs for New Directions and has them utilize hairography themselves, performing a mash-up of "Hair" and "Crazy in Love".	Will 被她們的反對嚇倒了，但 Rachel (Lea Michele 飾) 向他保證，女孩們正在利用「髮型」的力量，這使頭髮遭受頻繁、戲劇性的折騰，但可用來分散她們的歌唱和舞蹈能力有限的注意力。Will 為《New Directions》購買假髮，並讓它們自己使用髮型，進行「頭髮」和「瘋狂的愛情」的混搭。
Dalton Rumba (Michael Hitchcock), glee club director at Haverbrook School for the Deaf, feels slighted by the invitation Will extended to the Jane Addams Academy, and arranges for his own club to also perform at McKinley High.	Dalton Rumba (Michael Hitchcock 飾) 是哈弗布魯克聾人學校的歡樂俱樂部主任，他對 Will 向 Jane Addams 學院發出的邀請感到輕視，並安排自己的俱樂部也在 McKinley 高中演出。
His club duets with New Directions on John Lennon's "Imagine", and Will realizes that the new mash-up and hairography routine is not working.	他的俱樂部與《New Directions》進行 John Lennon 的「Imagine」二重唱，Will 意識到新的混搭和髮型不起作用。
He removes it from the club's set-list, replacing it with a performance of "True Colors".	他將其從俱樂部的賽程表中刪除，取而代之的是「True Colors」的表演。
Unbeknownst to Will, Sue reveals two songs from New Directions' line-up for sectionals to Grace and Dalton, suggesting they have their own clubs perform them to gain an edge in the competition.	Will 不知道的是，Sue 向 Grace 和 Dalton 透露了《New Directions》的兩首歌曲，暗示他們有自己的俱樂部表演，以在比賽中佔據優勢。
Quinn (Dianna Agron) begins to doubt her decision to give her baby to Will's wife Terri (Jessalyn Gilsig), and re-considers her stance on raising the baby with Puck (Mark Salling) instead of Finn (Cory Monteith).	Quinn (Dianna Agron 飾) 開始懷疑她把孩子交給 Will 的妻子Terri (Jessalyn Gilsig 飾) 的決定，並重新考慮她與派 Puck (Mark Salling 飾) (而不是 Finn (Cory Monteith 飾)) 一起撫養孩子的立場。
She tells Terri she wants to keep the baby, but in an effort to change her mind, Terri's sister Kendra (Jennifer Aspen) has Quinn babysit her three unruly sons.	她告訴 Terri 她想保住孩子，但 Terri 的妹妹 Kendra (Jennifer Aspen 飾) 為了她的改變主意，於是讓 Quinn 照顧她的三個不守規矩的兒子。
Quinn invites Puck to babysit with her and the two bond, however when Quinn discovers that Puck spent the evening sexting his ex-girlfriend Santana (Naya Rivera), she re-commits to having the baby adopted, believing her daughter deserves a better father.	Quinn 邀請 Puck 與她和兩人一起照看孩子，然而當 Quinn 發現 Puck 花了一整晚的時間與他的前女友 Santana (Naya Rivera 飾) 發生性關係時，她再次承諾收養孩子，相信她的女兒應該有更好的父親。
Kurt (Chris Colfer) gives Rachel a make-over, ostensibly to help her attract Finn, but in reality attempting to sabotage her chances with him.	Kurt (Chris Colfer 飾) 給 Rachel 改頭換面，表面上是為了協助她吸引 Finn，但實際上卻試圖破壞倆人相處的機會。
Finn is unimpressed with Rachel's new look before telling her he remembered having the conversation with Kurt about what he liked in girls.	Finn 對 Rachel 的新造型並不感興趣，然後告訴她，他記得和 Kurt 談論過他喜歡的女孩類型。
Rachel confronts Kurt, stating that even if he is in love with Finn, she will always have a better chance "because [she's] a girl".	Rachel 質問 Kurt 特，說即使他愛上了 Finn，她也總會有更好的機會，「因為她是個女孩」。
But Kurt tells her that they are both kidding themselves: Finn is in love with Quinn and nothing will change that.	但 Kurt 特告訴她，他們都在開玩笑：Finn 愛上了 Quinn，沒有什麼能改變這一點。
"Hairography" was written by series creator Ian Brennan, and directed by Bill D'Elia.	《Hairography》由系列創作者 Ian Brennan 編劇，Bill D'Elia 執導。
Recurring characters who appear in the episode are glee club members Brittany (Heather Morris), Santana Lopez (Rivera), Mike Chang (Harry Shum Jr.) and Matt Rutherford (Dijon Talton), Terri's sister Kendra Giardi (Aspen), Kendra's husband Phil (Michael Loeffelholz), and their triplet sons (Aidan, Ethan and Ben Freedman).	劇集中反覆出現的角色是歡樂俱樂部成員 Brittany (Heather Morris 飾)、Santana Lopez (Rivera 飾)、Mike Chang (Harry Shum Jr. 飾)、Matt Rutherford (Dijon Talton 飾)、Terri's sister Kendra Giardi (Aspen 飾)、Kendra's husband Phil (Michael Loeffelholz 飾) 和他們的三胞胎兒子 (Aidan、Ethan和 Ben Freedman 飾)。
Hitchcock guest-stars as rival glee club director Dalton Rumba, and rapper Eve plays another club director, Grace Hitchens.	Hitchcock 客串出演競爭對手歡樂俱樂部總監 Dalton Rumba，饒舌歌手 Eve 飾演另一位俱樂部總監 Grace Hitchens。
So You Think You Can Dance contestants Katee Shean, Kherington Payne and Comfort Fedoke appear as members of Grace's club.	因此，《You Think You Can Dance》的參賽者 Katee Shean、Kherington Payne 和 Comfort Fedoke 以 Grace 俱樂部的成員之姿出現。
Eve was contracted to appear in two episodes of Glee, having been offered the role of Grace after Whitney Houston declined to appear.	在 Whitney Houston 拒絕出演後，Eve 被簽約出演兩集《歡樂合唱團》，獲得 Grace 的角色。
Discussing her casting, Eve stated: "I got asked and I'd heard the buzz about the show.	在談到她的選角時，Eve 說：「我被問到，我聽到了關於這部劇的各種異論。」
SH-58 was first commissioned some time between March 1, 1930 and December 1, 1931.	SH-58 在 1930 年 3 月 1 日至 1931 年 12 月 1 日之間首次投入使用。
The original extent of the route was much shorter than the present highway.	路線的原始範圍比現在的高速公路短得多。
In 1931, SH-58 was a dirt road extending from SH-8 east of Fairview north to Ringwood.	1931 年，SH-58 是一條從 Fairview 以北延伸到 Ringwood 的 SH-8 的土路。
Prior to receiving the SH-58 designation, this section of road was part of US-164 and the first SH-13.	在獲得 SH-58 指定之前，這段路是 US-164 和第一條 SH-13 的一部分。
On May 29, 1930, AASHO approved an extension of US-60 that replaced US-164.	1930 年 5 月 29 日，AASHO 批准了 US-60 的延期，取代了 US-164。
When US-60 replaced US-164 through the area, it was changed to the more westerly route it takes in the present day.	當 US-60 取代 US-164 通過該地區時，它被改為今天更向西的路線。
The section of old U.S. highway that no longer had a designation became SH-58.	不再有名稱的舊美國高速公路部分成為 SH-58。
Throughout the 1930s, SH-58 was expanded in both directions.	在整個 1930 年代，SH-58 雙向都有擴展。
The first addition to the highway came during the first half of 1932, when the highway was extended north to Helena.	高速公路的第一次擴建是在 1932 年上半年，當時高速公路向北延伸至 Helena。
No east–west highway existed at this point yet, leading to a spur end.	此時還沒有東西向高速公路，導致支線末端。
The highway was extended to the south, replacing SH-44, to Canton on March 29, 1937. SH-58 was extended north to the Kansas state line sometime between April 1937 and April 1938.	1937 年 3 月 29 日，高速公路向南延伸，取代 SH-44，通往坎頓 (Canton)。SH-58 在 1937 年 4 月至 1938 年 4 月的某個時候向北延伸至堪薩斯州 (Kansas) 線。
This final extension brought SH-58's northern section to its present-day termini, and no major changes to the northern section have occurred since.	最後的延伸使 SH-58 的北段成為現在的終點站，此後北段沒有發生重大變化。
SH-58's southern section was first established on October 16, 1945, when SH-54 was given a new alignment further to the west; its old alignment was redesignated as SH-58.	SH-58 的南段最初建立於 1945 年 10 月 16 日，當時 SH-54 被賦予了進一步向西的新路線；它的舊路線被重新命名為 SH-58。
The original routing of SH-58's southern section began at US-277 in Cyril, continued west through Apache, and turned north at the present-day western intersection of with SH-19.	SH-58 南段的原始路線始於西里爾 (Cyril) 的 US-277，繼續向西穿過阿帕奇，並在今天與 SH-19 的西部交叉口向北轉彎。
SH-58 continued north along its present alignment to Hydro, where it ended at US-66/SH-1.	SH-58 繼續向北沿著目前的路線延行至海德羅 (Hydro)，並在此處以 US-66 / SH-1 結束。
In 1955, SH-19 was established through southern Caddo County, taking over the east–west section of SH-58.	1955 年，建造的 SH-19 通過卡多郡 (Caddo County) 南部，銜接 SH-58 的東西向路段。
Thus, SH-58 was truncated to where it intersected with SH-19 (the present day western end of their concurrency).	因此，SH-58在與SH-19相交的位置處 (現在並行的西端) 截斷。
SH-58 was extended to its present terminus north of Hydro the next year.	第二年，SH-58 被延長到海德羅 (Hydro) 以北的現在終點站。
The highway was further extended in 1964, bringing the southern terminus to its present location near Medicine Park.	高速公路於 1964 年進一步延伸，將南部終點站帶到現在的 Medicine Park 附近。
No further routing changes have occurred since then.	此後，沒有進一步的路線更改。
Live at Wembley was filmed at the London's Wembley Arena show of the Dangerously in Love Tour, Beyoncé's first international solo tour, on November 10, 2003.	《Live at Wembley》於 2003 年 11 月 10 日在倫敦溫布利體育館 (Wembley Arena) 的《危險愛情之旅》(Dangerously in Love Tour) 演出中拍攝，這是 Beyoncé (碧昂斯) 的首場國際個人巡演。
The tour supported her debut solo album, Dangerously in Love (2003).	這次巡演成為她首張個人專輯《Dangerously in Love》(2003) 的最佳宣傳。
Most of the songs on Live at Wembley originate from that album, but it also contains a medley of past songs by her former group Destiny's Child and two soundtrack singles: "Work It Out" and "Summertime".	《Live at Wembley》的大部分歌曲都源自那張專輯，但也包含了她前樂隊 Destiny's Child 過去的歌曲和兩首原聲帶單曲：《Work It Out》和《Summertime》。
The second disc of Live at Wembley contains three previously unreleased studio recorded songs, including a cover of Rose Royce's "Wishing on a Star", and one remix each of "Crazy in Love", "Baby Boy" and "Naughty Girl".	《Live at Wembley》的第二張唱片包含三首以前未發行的錄音室錄製的歌曲，包括翻唱 Rose Royce 的《Wish on a Star》，以及混音版《Crazy in Love》、《Baby Boy》和《Naughty Girl》。
Behind-the-scenes footage can be also seen on the DVD.	在 DVD 上也可以看到幕後花絮。
The concert audio was mixed by Rick Camp, the same engineer who mixed at the concert venues.	音樂會音訊由 Rick Camp 混音，他是在音樂會場地混音的工程師。
It is uncommon for mix engineers to specialize in both live and recorded mixing.	混音工程師專門從事現場混音和錄音混音並不常見。
For Camp, "Mixing Beyoncé is a pleasure because she's a real singer and makes it easy.	對於 Camp 來說，「與 Beyoncé 混音是一種樂趣，因為她是一位真正的歌手，並且輕鬆自在。
There is hardly an overdub on this project — it's 95 percent live Beyoncé." He further talked about the collaboration with Beyoncé with Mix magazine, saying: "In my 22 years of mixing, I've never come across anyone who could deliver like she does: vocally and her ability to do a show.	這項現場工作幾乎沒有過度配音，是 95% 的現場 Beyoncé」。他進一步談到了與 Beyoncé 與《Mix》雜誌的合作，他說：「在我 22 年的混音生涯中，我從未遇到過任何能像她一樣美聲和秀場表演的能力俱佳的人。
I've seen this young woman run across a 60-foot stage, hit every note and never miss a thing.	我見過這位年輕女子跑過 60 英尺高的舞臺，每個音符完美詮釋，從不錯過任何細節。
And that makes my job so much easier."	這讓我更輕鬆完成工作。」
On stage, Beyoncé was backed by several male and female dancers performing choreography during the show.	在舞臺上，Beyoncé 在演出期間獲得幾位男女舞者傾力合作編舞與表演。
DJ Diamond who served as a DJ during the performances and a backing band provided the music.	DJ Diamond 在演出期間擔任 DJ，並由一支後援樂隊提供音樂。
The performance starts with footage of the crowd during the concert cheering before the appearance of Beyoncé.	表演從演唱會期間人群在  Beyoncé  出現之前歡呼的鏡頭開始。
The curtains are lifted to reveal the stage and Beyoncé appears in red clothes hanging upside down while being taken to a sofa on the stage with a harness singing "Baby Boy".	幕簾被掀起，露出舞臺，Beyoncé 穿著紅色的衣服，用背帶倒掛著帶到舞臺上的沙發上，唱著「Baby Boy」。
She is backed by a big screen and several dancers on stage who perform a choreography around her.	她身後有一個大螢幕和舞臺上圍繞著她伴舞的幾位舞者。
She later starts dancing with them as the song plays and a breakdown towards the end is also featured.	後來，當歌曲播放時，她開始與舞群一起跳舞，並且朝向結尾的分解也是特色。
She asks from the girls in the crowd to sing to "Naughty Girl" as she dances with background dancers while the words "Naughty Girl" are displayed on the screen behind her.	隨著與背景舞者一起跳舞，同時《Naughty Girl》的字樣顯示在她身後的螢幕上，她請人群中的女孩唱《Naughty Girl》。
Towards the end of the song she performs portions of Vanity 6's song "Nasty Girl" (1982) as a short dance break.	在歌曲的結尾，她表演了 Vanity 6 的歌曲《Nasty Girl》(1982) 的部分內容，作為短暫的舞蹈休息。
The lights are turned off and later silhouettes of Beyoncé and her dancers appear performing a choreography in front of the screen which is colored white while a backing track is played.	燈光被關閉，Beyoncé 和她的舞者的剪影出現在白色螢幕前表演編舞，同時播放背景音樂。
Stelmach's policy on health care was highlighted by his removal of the province's health care premiums effective the end of 2008.	Stelmach 的醫療保健政策因從 2008 年底開始取消該省的醫療保健保費而受到關注。
Critics had denounced the premiums as being regressive, both because they were the same amount regardless of the payer's income and because people with better-paying jobs often had their premiums covered by their employer.	批評者譴責這些保費會遞減，因為無論付款人有多少收入，保費都相同，而且擁有更高薪水工作的人的保費通常欲由僱主支付。
The opposition Liberal and New Democratic parties had long called for their removal.	反對黨自由黨和新民主黨長期以來一直呼籲將其撤職。
This elimination was announced in a throne speech immediately before the dissolution of the legislature for the 2008 election, although it was initially promised to take effect by 2012.	健保費取消是在 2008 年立法機關解散前夕的王權演講中宣佈的，儘管最初承諾在 2012 年之前生效。
During this campaign, Stelmach promised to increase the capacity of Alberta universities to train doctors and nurses over four years, eventually resulting in the graduation of 225 more doctors, 350 more registered nurses, and 220 licensed practical nurses.	在這次競選期間，Stelmach 承諾在四年內提高亞伯達 (Alberta) 大學培訓醫生和護士的能力，最終成果有 225 名醫生畢業，350 名註冊護士和 220 名持牌執業護士。
After the registrar of the Alberta College of Physicians and Surgeons called the plan unfeasible, Health Minister Dave Hancock clarified that most of the increase would in fact come from the immigration of foreign doctors to Alberta, rather than from in-province training.	在亞伯達省內科醫生和外科醫生學院的註冊長宣布該計劃不可行之後，衛生部長 Dave Hancock 澄清說，大部分成長實際上將來自外國醫生移民到亞伯達省，而不是來自省內培訓。
Following the election, Stelmach's new Minister of Health, Ron Liepert, released the government's new health plan.	選舉結束後，Stelmach 的新任衛生部長 Ron Liepert 發佈了政府的新健康計劃。
In it, Liepert refused to characterize the problems in the health care system as being the result of doctor shortages, and instead promised structural reforms.	在健康計劃中，Liepert 拒絕將醫療保健系統的問題描述為醫生短缺的結果，而是承諾進行結構性改革。
He indicated that these may include consolidating health authorities, closing rural hospitals, and de-listing some health services from coverage under the province's public health insurance scheme.	他指出，這些措施可能包括合併衛生部、關閉農村醫院，以及將一些衛生服務從該省公共醫療保險計劃的覆蓋範圍中刪除。
In May, the government took the first step in implementing these structural reforms by combining the province's nine health authorities into one health "superboard".	今年 5 月，政府邁出了實施這些結構性改革的第一步，將全省的九個衛生部門合併為一個衛生「超級委員會」。
In June 2008, three senior health officials announced that they would be leaving the province's employment at the expiration of their contracts in August.	2008 年 6 月，三名高級衛生官員宣布，他們將在 8 月合約到期時離開該省的工作崗位。
Liepert blamed their departures on better offers from other employers, although New Democrat leader Brian Mason speculated that the government's health restructuring may have been to blame.	Liepert 將他們的離職歸咎於其他雇主提供更好的報價，儘管新民主黨領袖 Brian Mason 推測政府的健康重組可能是罪魁禍首。
Detractors pointed out that the optics of allowing the employees to depart for more money elsewhere soon after the government had approved a substantial pay hike for cabinet ministers were not good.	批評者指出，在政府批准內閣部長大幅加薪後不久，允許員工離開其他地方以獲得更多資金的前景並不好。
As the province's fiscal situation worsened in late 2008, the government adapted its health policy.	隨著該省的財政狀況在2008年底惡化，政府調整了其健保政策。
In December, Liepert announced a new seniors drug plan that made drugs free for seniors making less than $21,325 but required those making more to pay as much as $7,500 for their drugs.	去年 12 月，Liepert 宣佈了一項新的年長者藥物計劃，該計劃為收入低於 21,325 美元的年長者免費提供藥物，但要求收入更高的人為他們的藥物支付高達 7,500 美元的費用。
In response to protests from seniors, he amended the plan in April 2009 to reduce both the income level at which seniors would have to start paying and the amount which those seniors would have to pay.	為了回應年長者的抗議，他在 2009 年 4 月修改了該計劃，降低年長者必須開始支付的收入水準和年長者必須支付的金額。
Liepert said that the plan, $10 million more expensive than the one he had announced in December, would see 60% of seniors pay less than they did under the status quo.	Liepert 說，該計劃比他在 12 月宣布的計劃費用高出 1000 萬美元，將使 60% 的年長者支付的費用低於他們在現狀的價格。
The same month, Stelmach's government's budget revealed changes to which medical services it would cover: those de-listed included chiropractic services, at an annual savings of $53 million, and sex change operations, at an annual savings of $700,000.	同月，Stelmach 政府的預算披露該計劃將承保的醫療服務變化，不在承保範圍內的項目包括：每年節省 5300 萬美元的脊椎按摩療法服務，以及每年節省 70 萬美元的變性手術。
While the Canada Health Act requires the federal government to financially penalize provinces that do not support all "medically necessary" procedures, Liepert maintained that the de-listed services were not "medically necessary" from the perspective of the Act, and said that he anticipated no trouble from the federal government.	雖然《加拿大健保法》(Canada Health Act) 要求聯邦政府對不支援所有「醫療必要」程序的省份進行經濟處罰，但 Liepert 堅持認為，從該法案的角度來看，程不在承保範圍內的服務在「醫療上是必要的」，並表示他預期聯邦政府不會遇到困難。
During the 2009 H1N1 pandemic, Stelmach initially announced that the government would make the vaccine available to all Albertans, though vaccine shortages resulted in a limited number of clinics, which experienced long lineups.	在 2009 年 H1N1 流感大流行期間，Stelmach 最初宣佈政府將向所有亞伯達省人提供疫苗，儘管疫苗短缺導致診所數量有限，但這些診所經歷大排長龍。
Wright died at home in London of cancer on 15 September 2008, aged 65.	London 於 2008 年 9 月 15 日在倫敦的家中因癌症去世，享年 65 歲。
At the time of his death, he had been working on a new solo album, which was thought to comprise a series of instrumental pieces.	在他去世時，他一直在製作一張新的個人專輯，該專輯被認為包括一系列樂器作品。
The surviving members of Pink Floyd paid Wright tribute.	Pink Floyd 的倖存成員向 Wright 致敬。
Waters said "it is hard to overstate the importance of his musical voice in the Pink Floyd of the '60s and '70s" and was happy that they had managed to reunite for Live 8. Mason said Wright's contributions to Floyd were under-rated, and that his playing "was the sound that knitted it all together", comparing his "quiet one" status in the band to George Harrison.	Waters 說：「很難誇大他的音樂聲音在 60 年代和 70 年代的 Pink Floyd中的重要性」，並且很高興他們能夠為 Live 8 重聚。Mason 說，Wright 對 Floyd 的貢獻被低估了，他的演奏「是將所有聲音交織在一起」，並比較將他與 George Harrison 在樂隊中的「安靜」狀態。
Gilmour called him "my musical partner and my friend", praised the ability of the two men's voices to blend, such as on "Echoes".	Gilmour 稱他為「我的音樂搭檔和我的朋友」，稱讚兩人的聲音融合能力，比如在《Echoes》中。
Wright's death brought Pink Floyd to a formal end, with Gilmour re-iterating that it would be wrong to resume touring without him.	Wright 辭世使 Pink Floyd 正式結束，Gilmour 重申，沒有他恢復巡演是錯誤的。
On the day of Wright's death, Elton John, while playing a concert in Saskatoon, Saskatchewan, Canada dedicated the song "Believe" to him.	Wright 去世當天，Elton John 在加拿大薩克其萬省薩斯卡通市 (Saskatoon, Saskatchewan, Canada) 的一場音樂會上將歌曲《Believe》獻給了他。
On 23 September, Gilmour performed "Remember a Day", a Wright composition from Pink Floyd's second album, A Saucerful of Secrets, on a live broadcast of Later... with Jools Holland on BBC Two as a tribute to Wright.	9 月 23 日，Gilmour 在《裘斯荷蘭樂之聲》(Later... With Jools Holland) 的現場廣播表演《Remember a Day》作為 Wright 對的致敬，這是 Pink Floyd 第二張專輯中由 Wright 作曲的一首歌。
In an interview later on in the show, Gilmour said that Wright had intended to perform with him that day, but that he had texted Gilmour a couple of weeks before his death to advise him that he would not be well enough to attend.	在節目後期的一次採訪中，Gilmour 說 Wright 那天打算和他一起表演，但他在去世前幾週給 Gilmour 發了簡訊，告訴他身體狀況不佳，無法參加。
Wright's main influence was jazz, particularly Miles Davis and John Coltrane.	Wright 的主要影響是爵士樂，尤其是 Miles Davis 和 John Coltrane。
He never considered himself a typical songwriter, preferring to create whole albums of music with a theme, later saying "if the words came out like the music, and we didn't have anything else to do, then quite a few would be written".	他從不認為自己是典型的詞曲作者，他更喜歡創作一整張有主題的音樂專輯，後來他說：「如果歌詞像音樂信手拈來，而我們沒有別的事情可做，就會寫出相當多的歌曲」。
A number of compositions credited to Wright came out of improvisation and randomly trying ideas, some of which were picked up enthusiastically by his band mates.	Wright 創作的許多作品都是即興創作和隨機嘗試的想法，其中一些被他的樂隊夥伴熱情地撿起來。
Wright later said "I just play and don't really think about what I'm doing, I just let it happen".	Wright 後來說：「我只是玩，並沒有真正考慮我在做什麼，我只是隨心隨性。」
Of all the Pink Floyd members, Wright was the most reserved, sitting down behind the keyboards and concentrating on the music.	在所有 Pink Floyd 成員中，Wright 最保守，他坐在鍵盤後面，專注於音樂。
In the 1970s, Wright listened to some contemporary progressive rock bands, and particularly liked early Peter Gabriel-fronted Genesis.	在 1970 年代， Wright 聽了一些當代前衛搖滾樂隊，特別喜歡早期的 Peter Gabriel 前衛 Genesis。
He later asked some of the musicians in Gabriel's solo touring band to play on Broken China.	後來，他邀請 Gabriel 的獨奏巡演樂隊中的一些音樂家在 Broken China 上演奏。
Wright enjoyed playing the organ, and considered the style he used in Pink Floyd to be unique.	Wright 喜歡演奏管風琴，並認為他在 Pink Floyd 中使用的風格是獨一無二的。
He played solos in the early part of Floyd's career, frequently using Egyptian scales, such as on "Matilda Mother" or "Set the Controls for the Heart of the Sun".	在 Floyd 職業生涯的早期，他獨奏時經常使用埃及音階，如《Matilda Mother》或《Set the Controls for the Heart of the Sun》。
His jazz background led to him being interested in free form music, with adherence to tempo being less important.	他的爵士樂背景使他對自由形式的音樂感興趣，堅持節奏並不那麼重要。
Later, he was more interested in complementing each piece with organ, electric piano or synthesizer as a backing instrument, while still featuring occasional solos.	後來，他更感興趣的是用管風琴，電鋼琴或合成器作為背景樂器來補充每首曲子，同時仍然偶爾獨奏。
Production on the episode began on September 14, 2004, and ran through to September 22.	該集的製作於 2004 年 9 月 14 日開始，一直持續到 9 月 22 日。
The standing sets were used for the first three days of filming.	拍攝的前三天採用站立式佈景。
Further sets were created to represent the Vulcan Embassy and portions of the Forge.	為了代表火神大使館和鍛造廠的一部分，還創作了更多的佈景。
The final two days were filmed on site in Simi Valley in southern California, which doubled as the main areas of the Forge.	最後兩天是在加利福尼亞州南部的西米谷 (Simi Valley) 現場拍攝，該山谷是鍛造廠的主要區域。
The property used in the valley was owned by mining company P.W. Gillibrand, which was near property owned by Vulcan Materials Company.	山谷中使用的財產由礦業公司 P.W. Gillibrand 擁有，該公司靠近 Vulcan Materials Company 擁有的財產。
Optical effects were added to represent the firestorm and the sehlat.	增添光學效果來表示火風暴和 Sehlat 獸。
The CGI sehlat was based on one which previously appeared in Star Trek: The Animated Series episode "Yesteryear".	CGI sehlat 基於之前出現在《星際爭霸戰：動畫版系列》劇集《過去的歲月》(Yesteryear) 中的一個角色。
Visual effects producer Dan Curry said that the team "looked at the animated series and it just looked nice and pleasant, so I did a couple of sketches to do a reinterpretation of it to make it look scary, but not be too radical a departure from the original".	視覺效果製作人 Dan Curry 說，團隊「看了動畫系列，它看起來很好，很愉快，所以我做了幾個草圖來重新解釋它，讓它看起來很嚇人，但又不會太激進地偏離原版」。
Eden FX modelled the CGI under supervision by staff visual effects supervisor Art Codron.	Eden FX 在工作人員視覺效果總監 Art Codron 的監督下對 CGI 進行了建模。
Additional care was taken to create the fur so that close-ups could be used if required.	在製作毛皮時還採取額外措施，可在需要時使用特寫鏡頭。
The only physical portion of the sehlat to be created was a single paw. "Yesteryear" was set in the Vulcan city Shi'Khar, which reappears in "The Forge", and it is also the first mention of the area on Vulcan called the Forge.	唯一要創作的 sehlat 有形部分是一隻爪子。《過去的歲月》以火神之城 Shi'Khar 為背景，在《鍛造廠》(The Forge) 中再次出現，這也是火神島上第一次提到被稱為鍛造廠的地區。
A further reference was made to "Vulcan's Forge" in the Deep Space Nine episode "Change of Heart".	在《銀河前哨》(Deep Space Nine) 的《Change of Heart》一集中，進一步提到了「火神的鍛造」(Vulcan's Forge)。
"The Forge" and the following two episodes make reference to a time of savagery in Vulcan history known as the "Time of Awakening".	《鍛造廠》和以下兩集引用了火神歷史上被稱為「覺醒時代」(Time of Awakening) 的野蠻時期。
This had been previously mentioned in the original series episodes "Balance of Terror", "All Our Yesterdays", and "The Savage Curtain", as well as The Next Generation episode "Gambit".	這在最初的系列劇集《恐怖平衡》(Balance of Terror)、《All Our Yesterdays》和《野蠻的帷幕》(The Savage Curtain) 以及下一代劇集《Gambit》中已經提到過。
The story mentioned the Vulcan T'Pau, who had previously appeared in The Original Series episode "Amok Time" presiding over the fight between Kirk and Spock, with the elder T'Pau portrayed by Celia Lovsky. Michael Reilly Burke returns as Koss, having previously appeared in the role in the season-four episode "Home".	這個故事提到了火神 T'Pau，他之前曾出現在原始系列劇集《Amok Time》中，主持 Kirk 和 Spock 之間的戰鬥，老 T'Pau 由 Celia Lovsky 飾演。Michael Reilly Burke 以 Koss 的身份回歸，之前曾在第四季的《Home》中出現過這個角色。
Robert Foxworth appears as Administrator V'Las, having previously appeared as Admiral Leyton in the Deep Space Nine episodes "Homefront" and "Paradise Lost".	Robert Foxworth 以管理員 V'Las 的身份出現，此前曾在《銀河前哨》(Deep Space Nine) 的《家園》(Homefront) 和《失樂園》(Paradise Lost) 中飾演萊頓海軍上將 (Admiral Leyton)。
Husband and wife duo Judith and Garfield Reeves-Stevens had previously written a number of Star Trek-related novels and books, including a series of collaborations with William Shatner and the novel Federation.	夫妻二人組 Judith 和 Garfield Reeves-Stevens 之前寫過許多與《星際爭霸戰》相關的小說和書籍，包括與 William Shatner 的一系列合作及小說《聯邦》(Federation)。
They had also written several nonfiction books on the behind-the-scenes productions of the Star Trek series such as Star Trek: Phase II - The Lost Series and Star Trek: The Next Generation - The Continuing Mission.	他們還寫了幾本關於《星際爭霸戰》系列幕後製作的非小說類書籍，如《星際爭霸戰：Phase II - The Lost Series》和《星際爭霸戰：The Next Generation - The Continuing Mission》。
"The Forge" was their first script together for a Star Trek series, but they had previously written scripts for other shows, including Sir Arthur Conan Doyle's The Lost World and Once a Thief.	《鍛造廠》是他們為《星際爭霸戰》系列合作的第一個劇本，但他們之前還為其他節目寫過劇本，包括 Arthur Conan Doyle 爵士的《失落的世界》(The Lost World) 和《Once a Thief》。
They joined the Enterprise writing team shortly before working on the story for this episode which formed the first part of a planned "Vulcan arc".	他們不久後加入了企業寫作團隊，然後為這一集撰寫了故事，這一集構成了計劃中的《Vulcan arc》的第一部。
After reading an article about the iLoo, Andrew Cubitt, inventor of the similarly named i-Loo, wrote to The Inquirer stating that iLoo "sounds remarkably similar ... it now seems that the clever people at Microsoft have cottoned onto the idea and even call it the i-Loo, the same as mine!" Cubitt went on to say that "mine did everything that the Microsoft one is meant to do, but additionally printed information on toilet paper and didn't use a keyboard for the interface due to hygiene reasons".	名稱相近的 i-Loo 發明人 Andrew Cubitt 在讀了一篇關於 iLoo 的文章後，投書到《詢問者》說 iLoo「聽來很像...看來微軟公司裡的聰明人接受這個概念，甚至也把它叫做 i-Loo，跟我的一樣！」Cubitt 接著說，「微軟的和我的軟體功能一模一樣，但我另外把資訊印在衛生紙上，而不使用鍵盤，因為這樣比較衛生。」
The i-Loo was prototyped by Cubitt as part of his thesis for his 2001 university degree in Product Design and Engineering at Brunel University.	i-Loo 是 Cubbit 在 2001 年就讀汶萊大學產品設設與工程系時，為撰寫學位論文而做出的原形。
In an interview with The Inquirer, he noted "As it was designed at the university, they own the partial rights to the product so they will be watching the Microsoft 'invention' very closely."	在《詢問者》的一次專訪裡，他指出「由於是在大學中設計的，因此大學擁有產品部分權利；大學會仔細檢視微軟的這項『發明』』。
Microsoft never formally commented on Cubitt's allegations and instead initially stated the iLoo was an April's fool joke.	微軟從未正式回應 Cubitt 的指控，卻開始說 iLoo 只是個愚人節的玩笑。
As a result, Cubitt questioned whether this was "a very calculated ploy to destroy competition in its early stages, or is admitting they don't even know what time of the month it is less embarrassing and ridding them of a potentially expensive situation!" Cubitt went on to state that "as they have now discredited my idea as a joke, I will never be able to produce the idea" and as such was "consulting my law books now on defamatory statements".	因此，Cubitt 質疑這是一場「精心算計的計謀，在一開始就破壞競爭；微軟也可以承認他們不知道何時才能顯得不那麼尷尬，擺脫可能付出的昂貴代價！」Cubbit 繼續說，「現在他們把我的創意貶抑成一個笑話，所以我再也無法把它變成產品了」，「我現在正在查看和誹謗言論相關的法律書」。
Neither Cubitt, nor Brunel University have taken public legal action against Microsoft pertaining to the i-Loo.	Cubitt 和汶萊大學都不曾針對 i-Loo 對微軟提告。
The i-Loo was described as:	i-Loo 的說明如下：
The i-Loo internet toilet roll browser is a novel and unique product designed to make best use of the time you spend on the loo!	i-Loo 網路捲筒式衛生紙瀏覽器是全新、獨一無二的產品，專門讓你排遣上大號時的時間！
The product allows you to search the internet whilst sitting on the toilet and print out any web pages you are interested in on your toilet paper.	本產品讓你在衛生紙上搜尋網路資訊，並且印出任何感興趣的網頁。
i-Loo brings a whole new meaning to the word downloading.	i-Loo 讓「下載」這個詞有了全新的意義。
The unit is fixed in front of a toilet on the cubical [sic] wall.	該裝置固定在牆上廁紙架的前方。
The product provides up to date information about new products, daily news and lottery results through an easy to navigate software package.	該產品透過易於使用的軟體，提供各種新產品、每日新聞、樂透開獎結果的最新資訊。
Normal operation of the toilet and paper dispenser is evident.	當然，廁紙供給器可以如常使用。
The i-Loo internet toilet roll browser was featured at the 2003 Daily Mail Ideal Home Show as part of the Future Concepts exhibition in Earls Court, London, where it was nominated for the MFI Bright Sparks 2003 awards.	i-Loo 網路捲筒衛生紙瀏覽器，在 2003 年每日郵報理想家庭展覽，以及倫敦伯爵府未來概念展中展出；同時還獲得 2003 年 MFI 亮眼產品大獎。
The i-Loo, which was sponsored by Epson Printers, received significant press coverage, and was featured on GMTV as well as various radio shows.	獲得 Epson 印表機贊助的 i-Loo 獲得廣泛媒體報導，也在 GMTV 與多家電台節目中露出。
His daughter Lidya Steinhaus was married to Jan Kott.	他的女兒 Lydia Steinhaus 與 Jan Kott 結婚。
On November 1, 2017, a controversy arose as the University of Wrocław took no action to pay for his grave to keep it until 2022 in face of its expiration because it supposedly "had no money".	2017 年 11 月 1 日，樂斯拉夫大學因為「經費短缺」而未能支付到 2022 年為止的墓園費用，因而引發爭議。
Mayor Rafał Dutkiewicz was also widely criticized for doing nothing.	市長 Rafal Dutkiewicz 也因無所作為而廣遭批評。
Random people organized a charity and paid for the grave to remain.	許多善心人士發動捐款活動，支付墓園管理費用，使其可以留存。
Born in Forbes, New South Wales, on 27 February 1903, Lester Brain was the second son of an English mining engineer and manager, Austin Brain, and his Australian wife, Katie.	Lester Brain 在 1903 年 2 月 27 日生於新南威爾斯的福布斯，是英國礦業工程師兼經理 Austin Brain 與其澳洲籍妻子 Katie 的次子。
Originally from Gloucestershire, Austin had emigrated with his parents and siblings in 1885, prospecting for gold in the United States before settling in Australia.	Austin 出身英國格羅斯特郡，在 1885 年和雙親與兄弟姐妹舉家遷至美國，以追逐當時的淘金潮，之後移居澳洲。
By the age of thirteen, Lester owned his own motorcycle bought secondhand for £11; its poor condition and constant need for repair helped him become mechanically adept at an early age.	13 歲左右，Lester 就以 11 英鎊買了自己的二手摩托車；由於車況很差，經常需要修理，使得他很早就精於各種機械。
He completed his education at Sydney Grammar School, where he excelled in maths, before being employed by the Commercial Banking Company of Sydney (CBC) in 1919.	他畢業於雪梨文法學校，特別擅長數學，後來在 1919 年任職於雪梨商業銀行公司（CBC）。
Brain's penchant for motorbikes and things mechanical inspired a lift driver at CBC to suggest he apply for pilot training in the recently formed Royal Australian Air Force (RAAF).	Brain 對機車的熱情，以及機械方面的天份，讓 CBC 公司內的一位升降機司機大為驚奇，推薦他向剛成立的皇家澳洲空軍 (RAAF) 申請飛機駕駛訓練。
He was among five civilian students nominated by the Civil Aviation Branch (CAB) of the Defence Department for entry into the inaugural RAAF flying training course, which commenced at Point Cook, Victoria in January 1923.	他是國防部民航局 (CAB) 推薦進入 RAAF 首屆飛行訓練班的五個民間學員之一，該班於 1923 年成立於維多利亞省的庫克。
The benefit of these nominations from a military perspective was that although the destiny of the CAB-sponsored students was to be civil aviators, they would also be members of the RAAF reserve, known as the Citizen Air Force (CAF), and could therefore be called up for active service as and when necessary.	從軍事角度來看，提名這些人的好處是，雖然這些由 CAB 贊助的學員，最後都會成為民航機飛行員，但可以充任 RAAF 後備飛官，亦即市民空軍 (CAF)，在需要他們服役時即可派上戰場。
Brain's fellow attendees included Royal Australian Navy lieutenants Joe Hewitt and Ellis Wackett, and Australian Army lieutenant Frank Bladin, all of whom were seconded—and later permanently transferred—to the RAAF.	Brain 的同期同學包括皇家澳洲海軍中尉 Joe Hewitt 與 Ellis Wackett，以及澳洲陸軍中尉 Frank Bladin；這些人後來都支持 RAAF，之後也永久成為 RAAF 的一員。
Brain graduated at the top of his class after the year-long training course at Point Cook, and was duly commissioned in the CAF.	Brain 在 Point Cook 為期一年的訓練課程中拿到全班第一名，立即受到 CAF 委任。
Moving to Queensland in April 1924, he took up employment as a pilot with Queensland and Northern Territory Aerial Services (Qantas), its first aviator without a war record.	他在 1924 年移居昆士蘭，出任昆士蘭與北疆航空公司 (Qantas) 的飛行員，且是第一個不曾上過戰場的機師。
On 7 February 1925, he flew the first scheduled passenger service from Cloncurry to Camooweal, extending the airline's founding 580-mile (930 km) route—from Charleville to Cloncurry—by 284 miles (457 km).	1925 年 2 月 7 日，他首次執飛自吉朗卡列飛往卡木維爾的定期客機，將該公司成立以來自查爾斯維爾到吉朗卡列，距離約 580 英哩 (930 公里 )的航路，一口氣延長了 284 英哩 (457 公里)。
The following year, he completed a refresher course at Central Flying School, Point Cook.	隔年，他在 Point Cook 的中央飛行學校完成再訓練課程。
On a rain-soaked McKinlay airfield near Cloncurry on 27 February 1927, he flipped Qantas' first de Havilland DH.50 on to its back while attempting take-off, though he managed to escape without injury.	1927 年 2 月 27 日，當他在吉朗卡列附近的麥金利機場，在大雨天中駕駛澳航首架 de Havilland DH.50 型飛機時發生翻覆意外，所以他及時逃生，毫髮無傷。
Qantas founder Hudson Fysh berated him for a "serious error of judgement", but noted his excellent three-year record as a pilot; the aircraft was soon repaired and operational again.	澳航創辦人 Hudson Fysh 痛斥他犯下「嚴重誤判」，但也注意到他三年來優異的飛行記錄；那架飛機很快修好並且重新投入營運。
The next month, Brain became Chief Instructor at the Qantas Flying School in Brisbane, doubling as manager of the airline's local office.	隔月，Brain 出任布里斯班澳航飛行學校的總教官，兼任該公司當地辦公室經理。
By mid-1928, he had overworked himself to the extent that he was ordered to take respite by Fysh; this "respite" nevertheless involved a 13-week trip to England to study aviation developments.	在 1928 年中，他由於工作過勞，被 Fysh 下令暫時停飛休息；但這個在為期 13 的「休假」行程，他還是去了英國研習航空的發展。
In April 1929, Brain was selected to take part in a search for lost aviators in northern Australia, having gained experience of the area while flying over the Tanami Desert to assist a gold prospecting expedition some years earlier.	1929 年 4 月，Brian 受命參與在澳洲北方搜救失蹤飛行員的任務；在那之前他曾飛越塔納米沙漠以協助發掘金礦，而這次任務讓他對該地區更具經驗。
On 20 April, he took Qantas DH.50 Atalanta from Brisbane to link up with RAAF Airco DH.9s under the command of Flight Lieutenant Charles Eaton at Tennant Creek, to look for Keith Anderson and Robert Hitchcock in their Westland Widgeon the Kookaburra.	4 月 20 日，他駕駛澳航 DH.50 型，與由 Tennant Creek 的飛行教官 Charles Eaton 指揮的 RAAF Airco DH9 機隊，一同搜救駕駛 Westland Widgeon 型直升機「笑翠鳥號」的 Keith Anderson 和 Robert Hitchcock。
The pair had disappeared while searching for Charles Kingsford Smith and Charles Ulm, who had been reported missing on a record attempt from Sydney to England in the Southern Cross.	這兩人是在搜救 Charles Kingsford Smith 與 Charles Ulm 時失蹤；後者據報是在駕駛南十字星號，自雪梨飛往英國途中失蹤。
Brain located the Kookaburra the next day in the Tanami Desert, approximately 130 kilometres (81 mi) east-south-east of Wave Hill.	Brain 隔天在塔納利沙漠中發現「笑翠鳥號」，約在 Wave 山東南東方約 130 公里處 (80 英哩)。
Galadriel was originally named Artanis (Q. 'ar'=noble, 'nis'=woman, a name common to royal women of the Elves, most prominently as in the form Arwen, Galadriel's granddaughter), and Nerwen (Q. 'ner'=man, 'wen'=maiden, hence manly maiden), referring to her height and strength; Galadriel is the Sindarinized version of Telerin Quenya Alatáriel (Q. 'alatá'=radiance, 'riel'=maiden crowned with a garland), a name given her by Celeborn, referring to her silver-golden hair.	凱蘭崔爾一開始被命名為 Artanis (Ar 意指高貴，nis 指女性，這名字在精靈界的皇家女性中十分常見，最有名的就是凱蘭崔爾的孫女亞雯) 和 Nerwen ( ner 意指男性，wen 則指少女，此處以少女為主) ，指的是她的高貴與能力；凱蘭崔爾是 Telerin Quenya Alatariel 的辛達林語版本名字 (alata 是指光輝、riel 指戴著花冠的少女)。凱勒鵬如此命名，意指凱蘭崔爾金銀色的頭髮。
The name Galadhriel (S. 'galadh'=tree, 'riel'=crowned maiden) was used outside Lórien by the people who did not know the ancient days and Galadriel's history, confusing galad with the Sindarin word galadh and the name of the Galadhrim, the people of Lórien.	在羅林之外，不了解古代史與凱蘭崔爾過去的人，會用凱蘭迪爾 ( galadh 指樹木，riel 指加冕的少女) 之名，將 galad、辛達林語中的 galadh，以及意指羅林人的 Galadhrim 混為一談。
As the ruler of Lothlórien, she was referred to by a variety of titles, including "Lady of Lórien", "Lady of the Wood", and (by Gimli) "Queen Galadriel"—although, according to Tolkien's account in Unfinished Tales, neither she nor Celeborn took royal titles themselves, as they considered themselves merely guardians of Lórien.	身為洛斯羅林的統治者，她擁有多個不同頭銜，如「羅林女王」和金靂所稱的「凱蘭崔爾女王」；不過據托爾金在「未完成的故事」中的說法，不論是她或凱勒鵬，都不曾自稱皇室頭銜，因為他們認為自己只是羅林的守護者而已。
She was also referred to as "Lady of Light" (the translation of Galadriel) or as the "White Lady", as her fair skin and white cloaks made her seem to shine.	也有人稱她「光之女王」（即凱蘭崔爾的譯義），或因她美麗的肌膚與看來閃耀無比的白袍，而稱她為「白色女王」。
It was said (by the Dúnedain) that her height was two rangar (Quenya: 'strides'), or "man-high" – about 6 ft. 4 in., or 193 cm.	據登丹人說她的身高有兩個跨步，或「一個長人」，約有 6 呎 4 吋（193公分）高。
However, Galadriel's most striking feature is her beautiful long silver-golden hair.	不過，凱蘭崔爾最特別的，還是她一頭金銀色的美麗長髮。
The Elves of Tirion said it captured the radiance of the Two Trees Laurelin and Telperion themselves.	提理安的精靈說，它獲得了雙聖樹金樹羅瑞林與銀樹泰爾佩瑞安的光輝。
Even among the Eldar she was accounted beautiful, and her hair is held a marvel unmatched.	即使在神族中，她也是無比美麗，特別是一頭秀髮更是無人可比。
It is golden like the hair of her father and of her foremother Indis, but richer and more radiant, for its gold is touched by some memory of the starlike silver of her mother; and the Eldar say that the light of the Two Trees, Laurelin and Telperion, has been snared in her tresses.	那種金色就她父親和女性祖先 Indis，但更加光澤耀眼，她母親如星光般的銀色記憶也摻入其中，神族人說雙聖樹羅瑞林與泰爾佩瑞安發出的光芒，也混入了她的秀髮之中。
It was greatly admired by Fëanor and may have inspired him to create the Silmarilli.	費諾非常喜愛這點，也促使他創造出精靈寶鑽。
Many thought that this saying first gave to Fëanor the thought of imprisoning and blending the light of the Trees that later took shape in his hands as the Silmarils.	許多人認為這種說法，開始讓費諾想到把雙聖樹的光芒禁錮並混入到後來他打造出的精靈寶鑽之中。
For Fëanor beheld the hair of Galadriel with wonder and delight.	對費諾來說，注視凱蘭崔爾的頭髮，就能帶來驚歎與喜悅。
Nevertheless, she never repaid Fëanor's admiration with the generosity she showed to Gimli the Dwarf in The Fellowship of the Ring.	但是，她從來不曾像對待矮人金靂和魔戒遠征隊那樣慷慨回報費諾的讚美。
Fëanor "had begged her thrice for a tress and thrice she refused to give him even one hair.	費諾「曾經三次向她請求賜髮，而她三次都拒絕了，一根也沒給
It is said that these two kinsfolk, being considered the greatest of the Eldar of Valinor, remain unfriends forever."	據說這兩位維林諾的艾爾達精靈一族中最偉大的人，此後一直都不相往來。
Her character was similarly a blend of characteristics of the kindreds of the Eldar from whom she was descended.	她的個性明顯有一部分來自祖先艾爾達人的特徵。
She had the pride and ambition of the Noldor, but in her they were tempered by the gentleness and insight of the Vanyar.	她擁有諾多族的驕傲與野心，但也受到來自凡雅族溫和與智慧特質的撫平。
She shared the latter virtues of character with her father Finarfin and her brother Finrod.	她和父親費納芬與哥哥芬羅德一樣，都擁有凡雅族的特質。
She was proud, strong, and self-willed, as were all the descendants of Finwë save Finarfin; and like her brother Finrod, of all her kin the nearest to her heart, she had dreams of far lands and dominions that might be her own to order as she would without tutelage.	她充滿傲氣、堅強、任性，一如芬威的子嗣中與她最親近的費納芬與哥哥芬羅德一樣，夢想支配遠方的土地和領地，沒有任何人可以管得動她。
Yet deeper still there dwelt in her the noble and generous spirit of the Vanyar, and a reverence for the Valar that she could not forget.	在她內心深處仍然存有凡雅族高貴與慷慨的精神，而她也不能忘卻對勇者的敬意。
Kepler-10b's discovery excited astronomers, who hoped to use data about it to inquire into the formation and structure that terrestrial, Earth-size planets tend to have in common.	Kepler-10b 的發現，讓天文學家大為振奮，希望能夠利用這些資料，找出這類地球型，大小也接近地球的行星形成與結構的共同之處。
Geoff Marcy of the University of California at Berkeley said that the discovery was ranked "as among the most profound scientific discoveries in human history," and that the planet "will go into every textbook worldwide." Marcy also described Kepler-10b as "a bridge between the gas giant planets we've been finding and the Earth itself." Diana Valencia at the University of Côte d'Azur in Nice, France considered the planet more of a "super-Mercury" than a super-Earth, granted its physical characteristics.	加州大學柏克萊分校的 Geoff Marcy 指出，這項發現「可以躋身人類史上最重要的科學發現」，該行星「也將載入全世界各國的教科書中」。Marcy 同時指出 Kepler-10b 「界於我們已經找到的許多氣態巨行星與地球本身之間」。法國尼斯蔚藍海岸大學的 CDiana Valencia 則認為該行星的各種物理特徵，比較接近「超級水星」而非超級地球。
Kepler-10b is most noted for its rocky surface.	Kepler-10b 最負盛名的是其岩石表面。
It has a diameter 1.4 times that of the Earth, and a mass of 3.33±0.49 times that of Earth.	其直徑是地球的 1.4 倍，質量則為地球的 3.33±0.49 倍。
The density of Kepler-10b is 5.8±0.8 g cm⁻³.	Kepler-10b 密度則為 5.8±0.8 g cm⁻³。
It orbits its star, Kepler-10, in less than a day, at less than a twentieth of the distance from Mercury to the Sun.	其環繞母星 Kepler-10 所需時間不到一天，距離不到水星到太陽的二十分之一。
Its surface temperature on the star lit side is approximately 1833 K, which is as hot as a blast furnace and hot enough to melt iron.	該星的表面溫度約為 1833 K，和熾熱的熔爐一樣熱，足以熔化鐵器。
Though CoRoT-7b was discovered before Kepler-10b and has been claimed to be rocky, there is more room for other interpretations in the case of CoRoT-7b's composition than there is for Kepler-10b.	雖然 CoRoT-7b 較 Kepler-10b 先發現，也有人說它具備岩質表面，但和 Kepler-10b 相比，CoRoT-7b 組成的說法有更多爭議。
This is due to the much larger uncertainty in CoRoT-7b's mass (and, to a lesser extent, its radius) which is illustrated in the plot to the left.	主因在於 CoRoT-7b 的質量還有很大的不確定性 (直徑也不太確定），如左圖。
Consequently, CoRoT-7b may be revealed to be a lava-ocean planet, whereas Kepler-10b must be predominantly made of rock or iron.	因此，CoRoT-7b 很可能是個岩漿之海，而 Kepler-10b 則是由岩石或鐵質構成。
In addition to showing the range of masses and radii consistent with the observations of each planet, the plot includes curves of compositions implied by certain masses and radii.	除了要正確展現每個行星質量與直徑的觀測值外，該圖像也包括質量與直徑的曲線。
Kepler-10b is tidally locked to its parent star and has extreme variations in temperature between day and night sides.	Kepler-10b 受其母星潮汐鎖定，日夜溫差變化極端劇烈。
It also reflects about half of the starlight it receives.	該星約反射出所受光照的一半。
The writer for this episode, David A.	本季的作者 David A.
Goodman, said that making this episode was a "dream come true" for many members of the crew including himself.	Goodman 說，該季的製作對包括他本人在內的許多劇組成員來說，可謂「美夢成真」。
At the time he was hired onto the staff, they were already talking about creating a Star Trek-centric episode.	當他受僱成為工作團隊之時，團隊已經在討論製作以星艦迷航記為主的節目。
The initial idea was to have a giant Kirk and Spock fighting over New York-New York Hotel and Casino.	一開始的想法，是讓巨大化的寇克船長與史巴克，在紐約紐約飯店和賭長打架。
Executive producer David X.	執行製作 David X.
Cohen assigned the writing task to Goodman, as they agreed he was the biggest Trek fan of the group.	Cohen 指派 Goodman 撰寫劇本，因為大家公認他是團隊中最死忠的星艦迷。
They agreed to drop the story idea with the giant characters and gave him two weeks to write the script.	大家同意放棄巨大化角色的故事想法，給他兩星期回去寫劇本。
The deadline was complicated as Goodman had to spend the first week on jury duty, and then broke his ankle.	劇本完成一拖再拖，主要是因為在第一周 Goodman 得出庭擔任陪審員，接著又扭傷了腳踝。
Despite this, he described "Where No Fan Has Gone Before" as the most fun he has ever had writing a script.	雖然如此，他說這是他寫起來最有樂趣的劇本，「沒有哪個粉絲可以這樣」。
Series creator Matt Groening stated that while he is a fan of the Star Trek franchise, he has never seen an episode of The Original Series in its entirety, but has seen Star Trek: The Motion Picture.	連續劇創作者 Matt Groening 說，雖然他是星艦迷，但從來沒有完整看完一集星艦原創系列節目，不過倒是看過電影版。
Director Pat Shinagawa said that there was a certain amount of jealousy among the crew that she got to work on the episode.	導演 Pat Shinagawa 說，有些劇組成員聽到她要來拍節目，還有點嫉妒她。
All of the living members of the original Star Trek cast agreed to appear in the episode with the exception of James Doohan, whose agent replied with "No way." Because of this, the episode's working title was jokingly named "We got everybody but Scotty" and so Scotty was replaced with "Welshie".	所有星艦角色還活著的演員，都同意在節目中亮相，只有 James Doohan 拒絕；他的經紀人回覆說「別想」。正因如此，節目的暫定名字就戲稱為「所有人都到齊了，只差史考提一個」，而史考提這個角色也被「威爾西」取而代之。
DeForest Kelley was physically portrayed but had no lines due to his death in 1999. William Shatner and Leonard Nimoy recorded their lines together, which was unusual as actors usually record solo.	DeForest Kelley 雖然親自演出，但他在 1999 年過世，所以沒有台詞。William Shatner 和 Leonard Nimoy 共同錄製台詞，這相當少見，因為演員的台詞通常是分別錄製的。
Following his work on Futurama, Goodman went on to join the writing staff on Star Trek: Enterprise.	Goodman 在完成「飛出個未來」之後，接著加入星艦迷航記：企業號的編劇團隊。
A number of designs for the energy being were considered for this episode; however, the final version was decided upon due to a desire to keep the design simple.	節目曾經考慮多種能量的不同設計形態，但最後的版本的決定，則是因為希望簡化設計。
Shinagawa noted that even so, the final design for Melllvar is more sophisticated than some energy beings featured in the original series.	Shinagawa 指出，即使如此，Melllvar 的最終設計版本仍比最初劇集中的能量族成熟得多。
This episode contains many story elements based on episodes of Star Trek.	本集包括許多來自星艦迷航記各集的故事元素。
In the DVD audio commentary, Goodman noted his pride in having included a large number of quotations from The Original Series, particularly those items which he claims "the people on the internet" had not found on their own.	在 DVD 的有聲解說中，Goodman 指出他很驕儌於在劇中引用了大量最初劇集中的對白，特別是許多連「網路上的人」都沒有發現的對白。
He noted that in "Shatner's Log", based on Star Trek's "Captain's log", the line "The impossible has happened" quotes the opening log in "Where No Man Has Gone Before".	他說，在「夏特納的日誌」這集中，有句對白「不可能發生的事卻發生了」，是來自星艦迷航記「艦長日誌」這集開場時的一句對白「從來沒有人去過之處」。
Although the episode was not the last episode produced for season four, it was used as the season finale for the fourth broadcast season, being broadcast on April 21, 2002, on Fox in the United States.	雖然本集節目的製作，並不是第四季的最後一集，但 2002 年 4 月 21 日在美國 Fox 頻道播出第四季時，是作為大結局來播送的。
After returning from the United States after the launch of her debut studio album The Family Jewels (2010), Diamandis considered creating a character which would become the centerpiece of her follow-up project.	回到美國後，她推出首張錄音室專輯 The Family Jewels (2010)，之後 Diamandis 考慮創造一個角色，日後成為她後續專案的中心。
She commented that she was inspired by the "Tumblr generation" to photograph herself in several places across the United States, appearing as a different persona in each picture to mimick the anonymity of the "mini-stars of the internet".	她評論說受到「Tumblr 世代」的激發，在美國各地自拍，每張照片中都呈現不同的形象，以模擬那些不知名的「網路上的微明星」。
The final product became "a cold, ruthless character who wasn't vulnerable", which she later named "Electra Heart" and detailed as a tool to represent a combination of elements associated with the American Dream and Greek tragedy, and added that visuals would merge the differing concepts into a cohesive idea.	最後的製作成為一種「冷血、無畏且沒有弱點的角色」，後來她稱之為「Electra Heart」，發展成一種結合美國夢與希臘悲劇元素的表現工具，並說視覺可以把這兩種不同的想法融合為一。
Diamandis first announced Electra Heart in August 2011; it was initially planned to become a three-piece project inspired by American culture in the 1970s, although it eventually evolved into her second studio album.	Diamandis 於 2011 年 8 月首次公布 Electra Heart，一開始的計畫是要以 1970 年代的美國文化為主題，發表三部作品；最後成為她的第二張錄音室專輯。
Diamandis originally planned to release the record as a "side project" under an entity separate from Marina and the Diamonds, although her management disapproved.	Diamandis 原本打算將本專輯的發行當做「額外計畫」，由自 Marina 與 the Diamonds 分出的公司發行，但她的主管沒有同意。
The track "Living Dead" was the first recorded during its production, and approximately 22 songs were recorded for potential inclusion on the album.	專輯中最先錄製的歌曲是「Living Dead」，一共錄了 22 首可能收錄到專輯中的歌曲。
She later commented that the record was dedicated to "dysfunctional love", elaborating that "rejection is a universally embarrassing topic and Electra Heart is my response to that." Diamandis stated that Electra Heart was influenced by Madonna, Marilyn Monroe, and Queen of France Marie Antoinette; she described Madonna as being "fearless" and felt that she showcased a desire to be a successful artist beyond fame and wealth.	後來她評論說該專輯要獻給「失能的愛」，又說「拒絕總是讓人難堪，我對此的反應就是 Electra Heart」。Diamandis 說 Electra Heart 受到瑪丹娜、瑪莉蓮夢露和法國皇后瑪莉安東妮的影響；她說瑪丹娜總是不懼一切，展現出在名利之外成為成功藝術家的慾望。
Diamandis told Glamour that Britney Spears influenced a "double-sided" theme for the record of both "innocence" and "darkness".	Diamindis 向 Glamour 說，小甜甜布蘭妮的「雙面」主題也帶來影響，唱片一面是「純真」，一面是「黑暗」。
She described the final product as being "a bit cringe" and reflective of her personal experiences, although noted that its promotional campaign would be "pink and fluffy".	她說最後的製作『有點畏縮」，反映了她的個人經驗，但也說專輯的推廣告活動將會呈現「粉紅與毛絨絨」的風格。
On 1 March, Diamandis unveiled the album artwork for the standard version of Electra Heart, which depicts a blonde Diamandis wearing several hair rollers.	3 月 1 日，Diamandis 公開了標準版「Electra Heart」的專輯封面設計，畫面中金髮的 Diamandis 上著幾個髮捲。
The singer later revealed that because of the dye, her hair started to fall out, so she got a boy's haircut and wore a wig.	歌手後來說因為染劑的關係，她開始掉頭髮，所以之後就剪成男孩樣式的短髮，並且戴假髮。
Becky Bain from Idolator complimented its "retro film stock look" and opined that it "is just a snapshot from some 1970s exploitation movie", while Bradley Stern from MuuMuse jokingly referenced the album track "Homewrecker" when stating that she "looks like a proper Suzy Homemaker! (Or should I say Suzy Homewrecker?)" The artwork for the deluxe version features the same picture of Diamandis, although it is tinted purple.	Idolator 的 Becky Bain 補充說那「看起來像是老電影」，又說「那就是從 1970 年代電影裡的畫面中截取的」；而 MuuMuse 的 Bradley Stern 則開玩笑地在提到專輯中的「Homewrecker」一曲時，說她「看起來就像個 Suzy Homemaker 娃娃（或者應該說是 Suzy Homewrecker?)」豪華版的封面也是同一張 Diamandis 的照片，只是變成紫色調。
The track listing for the standard version was confirmed on 1 March, while the track listing for the deluxe version was announced on 5 March.	標準版的曲目順序於 3 月 1 日確定，而豪華版的則於 3 月 5 日公布。
A limited edition box set of Electra Heart contained the deluxe version of the record, four photo art cards, a ring, perspex, necklace, and pocket mirror.	Electra Heart 限定盒裝版內含豪華版專輯唱片、四張相片卡、一枚戒指、壓克力飾品、項鍊和口袋型化粧鏡。
Diamandis released 11 music videos through YouTube during the promotional campaign for Electra Heart.	在 Electra Heart 的宣傳期間，Diamandis 在 YouTube 上發布了 11 支 MV。
She claimed that their production led her record label into bankruptcy, but stated that they would be released and "finish this era the way I want to." The first, titled "Part 1: Fear and Loathing", was released on 8 August 2011, and sees Diamandis cutting her long brown hair and singing the track on a balcony during the nighttime.	她表示這次製作讓他的唱片公司破產，但也說唱片還是會推出，而且「依照我想要的方式結束個時代」。第一張專輯名為「Part 1. Fear and Loathing」，於 2011 年 8 月 8 日推出，可看到 Diamandis 剪去她的長棕髮，在晚上於陽台上唱其中的曲子。
It was followed by "Part 2: Radioactive" on 22 August, which depicts a blonde-wigged Diamandis travelling across the United States with her romantic interest.	8 月 22 日時接著推出「Part 2. Radioactive」，描繪戴著金色假髮的 Diamandis，以其浪漫的興趣橫越美國。
The track was released through the iTunes Store on 23 September, and peaked at number 25 on the UK Singles Chart on 15 October.	9 月 23 日時，該曲在 iTunes Store 上架，於 10 月 15 日登上英國單曲排行榜最佳排名第 25 名。
The black-and-white clip "Part 3: The Archetypes" shows the close-up of a blonde Diamandis while the introduction of "The State of Dreaming" is played; it introduced the archetypes "housewife", "beauty queen", "homewrecker", and "idle teen" on 15 December.	以黑白畫面拍攝的「Part 3: The Archetypes」，在音樂「The States of Dreaming」中，以特寫鏡頭呈現金髮的 Diamandis；在 12 月 15 日發行的該片，呈現出「housewife」、「beauty quenn」、「homewrecker」、「idle teen」的原型。
"Part 4: Primadonna" served as the music video for the lead single from the record on 12 March 2012.	2012 年 3 月 12 日推出的「Part 4: Primadonna」MV 是唱片中的的第一支曲目。
Marjorie Heins is an attorney with a focus on civil liberties.	Majorie Heins 是專注公民自由領域的律師。
She received her Bachelor of Arts degree from Cornell University in 1967.	她於 1967 年在康乃爾大學取得學士學位。
Heins graduated from Harvard Law School with a magna cum laude distinction, receiving her juris doctor degree in 1978.	Heins 於 1978 年在哈佛法學院以前 15％ 的優異成績取得法學博士學位。
At the time of the book's publication in 1993, Heins served as the founding director and chief lawyer for the Arts Censorship Project.	在該書出版的 1993 年當時，Heins 在藝術審查專案中擔任創始董事兼首席律師。
The project was formed as a division of the American Civil Liberties Union in 1991 during societal conflict in the U.S. over attempts to decrease financing for the National Endowment for the Arts, and to censor the musicians 2 Live Crew.	該專案是美國公民自由聯盟的一個分支，於 1991 年在美國成立，當時美國社會正在進行一場抗爭，反對政府降低對國家藝術基金的財務支援，也反對審查音樂家 2 Live Crew。
In 2000, Heins became the founding director of the Free Expression Policy Project at the National Coalition Against Censorship.	2000 年，Heins 成為全國反審查制度聯盟旗下言論自由政策專案的創始董事。
Her published books prior to Sex, Sin, and Blasphemy include: Strictly Ghetto Property: The Story of Los Siete de la Raza (1972), and Cutting the Mustard: Affirmative Action and the Nature of Excellence (1987).	在「性、罪與褻瀆神靈」一書之前，她曾出版過的書包括：「Strickly Ghetto Property: The Story of Los Stete de la Raza」(1972) 和「Cutting the Mustard: Affirmative Action and the Nature of Excellence」(1987)。
Subsequent to the publication of Sex, Sin, and Blasphemy, Heins wrote Not in Front of the Children: "Indecency," Censorship, and the Innocence of Youth in 2001, which received the 2002 Eli M.	在「性、罪與褻瀆神靈」出版後，Heins 在 2001 年寫了「Not in Front of the Children: "Indecency", Censorship, and the Innocence of Youth」 ，獲得美國圖書館協會 2002 Eli M.
Oboler Award from the American Library Association; and Priests of Our Democracy: The Supreme Court, Academic Freedom, and the Anti-Communist Purge in 2013, which received the Hugh M. Hefner First Amendment Award.	Oboler 文學獎，以及 2013 年的「Priests of Our Democracy: The Supreme Court, Academic Freedom, and the Anti-Communist Purge」，獲得 Hugh M. Hefner 第一修正案獎。
Sex, Sin, and Blasphemy: A Guide to America's Censorship Wars was first published in 1993 by The New Press.	「罪、性與褻瀆神靈：美國審查戰役指南」於 1993 年由 The New Press 首次出版。
The book was re-published by The New Press in 1998.	該書於 1998 年由 The New Press 再版發行。
It's stated that in September 1993, "Heins was the featured speaker at two events at the fifth annual Uncensored Celebration, sponsored by the American Civil Liberties Union Foundation of Oregon, where she spoke about her book and her work for the Arts Censorship Project".	1993 年 9 月有以下記載：「Heins 受邀在兩場由奧瑞岡州美國公民自由聯盟基金會贊助的第五屆反審查慶祝年會上發表演說，提到她的書與其在藝術審查專案的工作」。
She was a special guest at the Free Speech Lunch on September 18, 1993, as part of the Pacific Northwest Booksellers Association's Trade Show Northwest.	1993 年 9 月 18 日她擔任言論自由午餐會的特別來賓，這是由西北太平洋書商聯合會舉辦的西北商展中的一場活動。
On October 6, 1993, the Newark, New Jersey art gallery Aljira, a Center for Contemporary Art held a reception in honor of Heins' work where she spoke about her book and her efforts to defend works of art from censorship.	1993 年 10 月 6 日，新澤西州紐瓦克的當代藝術中心 Aljira 藝術畫廊舉行了一次招待會，表彰 Heins 的作品；會中她談到了她的書，以及她為保護藝術作品免於審查的努力。
Sex, Sin, and Blasphemy provides the reader with a history of censorship of artworks.	「性、罪惡和褻瀆神靈」將藝術品審查歷史介紹給讀者。
The book argues that artists have been scapegoated by those advocating censorship, as a method of diverting debate away from the suppression of human rights.	這本書指出，提倡審查制度的人，把藝術家當作代罪羔羊，以此將大眾的注意力自人權壓迫上轉移開來。
The author asserts that censorship of works deemed obscene has been used as a tactic throughout history to suppress women's rights.	作者強調，審查淫穢作品，在整個人類歷史上，一直是一種打壓女權的手法。
Heins describes for the reader the history of the 1873 Comstock laws.	她向讀者介紹 1873 年制定「考姆斯托克法」的歷史。
It's stated that,"such laws were put forth by United States Postal Inspection Service inspector Anthony Comstock, and after he helped influence passage of the legislation, they enabled the government to criminalize sending perceived immoral writings through the mail".	據稱，「這些法律是由美國郵政檢查局檢查員安東尼・考姆斯托克提出的，在他推動立法的通過之後，政府即可將以郵件傳送的不道德文字加以定為刑事犯罪。」
The book discusses the history of the division of the Motion Picture Association of America (MPAA) that assigns movie ratings, the Classification and Rating Administration.	該書還探討了美國影視協會(MPAA)所屬的分類與評級局的歷史，該單位為電影評級。
"Skin Deep" was written by consulting producer Jane Espenson, while 24 veteran, Milan Cheylov, directed the installment.	《Skin Deep》由諮詢製片人 Jane Espenson 撰寫，由拍過《24 反恐任務》的資深導演 Milan Cheylov 執導。
Knowing that they were going to recreate the story of "Beauty and the Beast", series co-creators Edward Kitsis and Adam Horowitz wanted its heroine, Belle, "to exude intelligence and strength and be someone you would immediately love," which led them to approach Emilie de Ravin.	劇集共同作者 Edward Kitsis 和 Adam Horowitz 知道他們將要重拍《美女與野獸》的故事，因此希望女主角 Belle 「散發出智慧和力量，成為你會一見鍾情的人」，因此他們與 Emilie de Ravin 洽談合作。
Her casting was announced in November 2011.	2011 年 11 月公布她領銜主演的訊息。
The actress agreed after reading the script, believing that the character was "very courageous" with a playful side that would endear her to Rumpelstiltskin.	這位女演員在讀完劇本後同意演出，認為這個角色「非常勇敢」，有著 俏皮的一面，讓她很愛野獸。
During their casting meeting, Kitsis and Horowitz told de Ravin that Belle is defined as a strong intelligent woman in a world that disapproves of those characteristics, and that de Ravin was going to be "tak[ing] the icon of Belle and mak[ing] her a woman."	在選角會議時，Kitsis 和 Howoritz 告訴 de Ravin 說，Belle 的設定是一個堅強而聰明的女性，但其社會並不接受這些特質；而 de Ravin 要「塑造 Belle 的典範，成為典型的女性」。
Espenson said that this was one of their most love-centered episodes; when they realized it was going to be airing near Valentine's Day, they decided to "lean into" this theme.	Espensen 說，這集是所有集數中愛情最重的一集；當他們發現播出日期很接近情人節時，決定要「深入」這個主題。
Unusually for Once Upon a Time, the theme of this episode changed during the writing process.	在寫《童話小鎮》的劇本時，主題通常會變更。
It was initially meant to center on Rumpelstiltskin choosing power over love.	一開始時劇情著重在野獸選擇權力，放棄愛情之上。
However, as Espenson went through drafts and discussed them with others, she decided that Rumpelstiltskin might think he is choosing power over love, but in reality his actions are motivated by a belief that he is worthy of love at all.	然而當 Espenson 鑽研初稿，和其他人討論時，她決定野獸可能會認為自己正在選擇權力而非愛情，但實際上他相信他完全值得被愛，因此促成了他的行動。
In the interest of time, Espenson was forced to edit out many plot points, including a failed escape attempt by Belle.	由於時間緊迫，Espenson 被迫放棄許多陰謀點，包括 Bell 一次失敗的脫逃嘗試。
Despite this, she sought to trim down more time from the Storybrooke scenes and "preserve as much as we could of the fairy tale side," as the Belle-Rumpelstiltskin relationship was a love story that needed time to grow in order to be believable.	雖然如此，她還是設法從《歡迎來到童話鎮》的情節中擠出更多時間， 「盡我們之力保留童話故事」，因為 Belle 和野獸的愛情需要更多時間蘊釀，觀眾才會相信。
De Ravin was a fan of the series before being cast and was happy to be able to view the costumes up close, describing her character's gold dress as "absolutely stunning." The casting of her former suitor, Gaston, was announced in December 2011 with Psych actor Sage Brocklebank.	De Ravin 在接演前就是本劇影迷，很高興可以近距離看到化妝，也說她扮演角色的金色服裝「超級亮眼」。飾演前任求婚者 Gaston 的演員，在 2011 年 12 月宣布，由曾演出靈異妙探的 Sage Brocklebank 演出。
De Ravin described the episode's version of Gaston as "maybe not as cocky as the animation [version of him], but it’s funny." Rumpelstiltskin's castle was shot almost entirely on greenscreen, with only a few real props being used.	De Ravin 說該集中的的 Gaston 「似乎不像動畫版中的他那樣驕儌，但是非常有趣」。野獸的城堡幾乎完全以綠幕拍攝，僅使用幾個實景。
It was de Ravin's first time working with this technology, which caused her to become "quite nervous." The physical props helped her with the scenes, and "they ha[d] a fantastic set up of a couple of monitors that you can see a markup of basically how it’s going to look."	這是 de Ravin 頭一次使用這種拍攝技術，因此讓她變得「相當緊張」。實體道具幫她融入場景，「工作人員也設置了兩個螢幕，你可以看到一些指示，知道基本上畫面看起來會是什麼樣子。」
The episode was included in Reawakened: A Once Upon a Time Tale – a novelization of the first season – which was published by Hyperion Books in 2013.	2013 年由 Hyperion Books 出版的第一季改編小說「Reawakened: A Once Upon a Time Tale」，就寫入了本集。
There are multiple references made to Disney's Beauty and the Beast.	許多處都參考迪士尼版本的《美女與野獸》。
The chipped tea cup that Belle accidentally drops is a reference to the boy-transformed-teacup Chip from the animated film.	Belle 不慎掉落造成的破一角茶杯，就是參考了動畫電影中小男孩變成的茶杯角色 Chip。
Also, Rumplestiltskin was referred to as a "beast" by Belle's father.	同時，Bell 的父親也把 Rumplestiltskin 叫做野獸。 
Belle's fiancée in the show is named Gaston, the Disney antagonist, and he was turned into a red rose, which featured prominently in the film.	劇中 Belle 的未婚夫叫做 Gaston，在迪士尼版本中是反派，劇中他變成一朵紅玫瑰，演技十分精湛。
In addition, most of Belle's clothing in the fantasy world appears to be directly inspired by the Disney film, such as her classic yellow ballgown and her blue-and-white plainclothes.	此外，Belle 在童話世界中的服裝，看來是直接受到迪士尼動畫片的啟發，例如她的古典黃色禮服，以及藍白雙色的平日穿著。
